Nickel Creek - Where is love now

Where Is Love Now Written by Sam Phillips, arranged and performed by Nickel Creek. Charted by Richard J.M. Fry for Courtney Lawton *Notes and Notation* Looks there for fun things! Short things, tall things, things that ride on bikes! And, above all, things to help you interpret the song. Capo 4: Key Signature: E major/C relative to Capo Time Signature: 4/4 Tempo: 69-74 Adagietto con dolcezza Chords used in order (relative to the Capo): Also, kids, seriously, check out notes and notations. Everything there is meant to help you to…a lot. C: X32010 D/C: X3X232 Em: 022000 Am: X02210 Am7/G: 3X2010 * F: 133211 or 13321X F/E: 03321X* Dm: XX0231 Dm/E: 0XX231* D: XX0232 Intro: C D/C C D/C C D/C Instrumental Solo: C Em Am F C Em Am F Em D *Notes and Notations* 1. Adagietto con dolcezza: Slow, but not drudging. Don’t linger on chords too long or else the sound will quickly get stale. As well, don’t heavy hand any of the chords--delicate, like a somber lament. 2. In regards to picking, Sean Watkins (the guitarist for Nickel Creek) is fond of mimicking finger picking with his style. Think of a hideous amalgamation of Travis picking, flatpicking, alternating bass picking, and crosspicking. As such, there’s really no RIGHT way to play this song. You can do delicate picking or finger style; it’s really up to you. I’m biased, as I learned finger style first, but that is just me. 3. Any chord that is marked with an asterisk is something that is PURELY OPTIONAL. As I mentioned, Mr. Watkins is keen on alternating bass, considering Nickel Creek very seldom runs with a double bassist, something odd for a bluegrass ensemble. As such, it is up to the guitarist to provide the stepping motion between chords. When you see a chord that is marked with a slash, it is a compound chord and is used as a stepping chord or a neighboring chord between tones. 4. This part is theory babble, so feel free to disregard it. The only exception to the optional choice is the D/C chord, which is actually a tonic chord with a neighboring step up to the supertonic (D), while still holding the C. It’s not quite a suspended chord, as the D/C eventually resolves back to the tonic. As such, the C to D/C to C motion is an incomplete neighboring chord. As well, you’re probably wondering why there is an Em present. Well, A minor is the relative minor of C major, and the song does occasionally insinuate a modulation. However, seeing as it does not stay in A minor very long, this is simply a borrowing of chords from the relative minor rather than a full blown key change. That being said, you seldom (and I mean, very seldom), find a usage of a minor V chord (Em) in a minor key. The V7 is much more enticing, as it allows a very quick segue into a major IV chord in the original key and eventually back to tonic. In the context of this song, however, a minor V chord does work as a pivot chord from Am to C, cutting out the need for a bridge between a V7/vi to I. As well, it could be a vi/V chord, as Em is borrowed from the dominant of C. Then again, it could be as simple as a iii chord. It's really in the eye of the beholder. Again, just theory babble. 5. I added a second way to play the F major chord. This is because in the recording, you never hear the octave F on the high E string in the recording, so it is, in my opinion, unnecessary to play it. I’m fond of leaving things out to preserve a good sound rather than a complete chord that doesn’t inherently do anything to enhance the harmony. Again, feel free to disregard this if you aren’t interested. 6. Adh mor! (Good luck)