So the clues might sound like “black on the bottom, all up, stretch up, all up, squeeze in, bottom two up, all up”, but if you see other clues – colour combinations, shapes, common notes – use them. In the final measure of this passage (on page 6) keep the A on top and bring the others up to D and F#, then finally keep the shape and bring all up to E, G# and B. Then move all up to the next white keys, then squeeze in to C#, E and A. On page 5 we have another short bridging passage: Start with G#, B and E, move them all up to A, C# and F#, keep the bottom note in place and stretch the other two up to D and A (an octave from top to bottom). Repeat the pattern, observing and saying the changes. Finally, for the fourth chord, just bring the middle note up a half-step to D. For chord three, even though the chord symbol is different, you’ll play the right hand exactly the same as chord one. A great way to remember this is that the colours (and the triangle) are reversed from the previous chord – black, white, black. For the next chord everything comes down, to G#, B and G#. The first chord is played as A, C#, and the next A up – a large, odd-shaped triangle. Firstly, the chords are played twice each instead of four times. Then we go to the chorus, which, according to the chord symbols is almost the same as the verses, and could be played that way, but the original is played differently. If you want it to be even closer to the original, the second time you play, play the third chord twice instead of four times and then (as Adele sings “over”) go back to the first chord two times, but keep your left hand on the D. Timing-wise, there’s a small change: the first two chords are played twice each instead of four times. For the third, bring the top note down one white key to D. For the second just move the middle note up a half-step to A. On page 3 we then have a little bridge with three chords: the first is the bottom two black keys of the group of three (F# and G#) with an E on top. Did you notice that the first three are the same as the bottom notes of the right hand? The left hand is just four notes: A, G#, F#, D. When you’re ready, break up the chords bottom, middle, top, middle four times each and you’re done. Finally, keep the top note in place and move the bottom back to the A where it started, and the middle note up a half-step to D.ĭo this again, taking note of how the chords shift: triangle, bottom down, stretch out, bottom two up. F# is the bottom note of the group of three black keys.
For the next chord you’ll do a stretch out from the middle – keep your middle note in place (it’s best to use finger 2 for this note) and bring the bottom note down and top note up, to F# in both cases. For the next chord keep the top two fingers in place and bring the bottom finger down a half-step to the next black key, G#. The first chord is A major, which if you’ve begun Accompaniment 1 you’ll know is a triangle shape with the thumb on A (if you don’t know that much, just play the notes A, C# and E).
It’s best to handle one thing at a time, and playing the chords as simple block chords will help you focus on what’s happening from one to the next. Don’t worry about breaking up the chords just yet. Let’s start with the verses (the first couple of pages). I recommend you get pretty confident with each section before moving on to the next.
#Adele someone like you chords series
We are going to process the song by looking at what happens from one chord to the next, and reduce this down to a series of clues. But it takes very little extra effort to make the piano part sound almost exactly like the original.Īlthough I name a lot of notes in this guide, the idea is definitely not to memorise every note. If you’ve been through the Accompaniment 1 program, you could play the chords in root position and break each one up ‘bottom, middle, top, middle’ four times each measure and it would sound great. The piano part is a simple accompaniment with a small number of chords, and broken up the same way right through. Some of the most memorable songs have been among the simplest – a single voice accompanied by just a strummed guitar or simple chords on a piano can concentrate the attention on the way the melody interacts with the chords.
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