Jake's Piano - Long Island chords - Bryan Zach Chords

Jake's Piano - Long Island chords

[Intro]
C Am G C
C Am G C
 
[Verse 1]
  C
I finally quit smoking cigarettes
      C                                    Am
And I don’t go downtown drinking till it’s dawn
         G                                      C
The best parts of you are here but you’re still gone
    C
And lord I’ve been trying to smile like you told me
C                                       Am
Laugh like the old me, it comes out all wrong
         G                                      C
The best parts of you are here but you’re still gone
    C
And I still tie that double knot
    C                                      Am
The one you taught that gets caught on the banks
         G                                   C
The best parts of you are here but you still ain’t
 
[Interlude]

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C Am G C
C Am G C
 
[Verse 2]
  C
I finally quit smoking cigarettes
      C                                    Am
And I don’t go downtown drinking till it’s dawn
         G                                      C
The best parts of you are here but you’re still gone
 
[Interlude]
Am G C F
Am G C F
 
[Verse 1]
             Am
I heard your father got sick of Long Island
          G
I’ve been trying like hell to call
   C                                        F
My mind aint well and I just can’t tell you why
Am
I heard they shut the old bar
        G
We’d go to when we needed rest
     C                                F
We’d always stay out too late Tuesday nights
 
[Verse 2]
         Am
You said I was the perfect gentleman
            G
You used to hold me by my gentle hands
      C                                   F
These ain't the hopefuls hands you held before
Am
And I’ve been drinking so much lately
   G
It seems a damn double blade
             C                                     F
Cuz when I’m drunk I dream you’re dancing down the shore
 
[Interlude]
Am G C F
Am G C F
 
[Verse 1]
             Am
I heard your father got sick of Long Island
          G
I’ve been trying like hell to call
   C                                        F
My mind aint well and I just can’t tell you why
Am
I heard they shut the old bar
        G
We’d go to when we needed rest
     C                                F
We’d always stay out too late Tuesday nights
 
[Interlude]
Am G C F
Am G C F
 
[Verse 1]
             Am
I heard your father got sick of Long Island
          G
I’ve been trying like hell to call
   C                                        F
My mind aint well and I just can’t tell you why
Am
I heard they shut the old bar
        G
We’d go to when we needed rest
     C                                F
We’d always stay out too late Tuesday nights




Intro and Verse Chord Progression:
The song begins with a gentle and introspective intro, cycling through
C, Am, G, and back to C. This chord progression sets the reflective tone of
the song, inviting listeners into a space of introspection and memory.
The verses continue with this progression, laying the foundation for
the narrative's unfolding. The repetition of "The best parts of you are
here but you’re still gone" is supported by the transition from C to Am to G
and back to C, emphasizing the sense of loss and longing.

Interlude and Transition to New Chord Progression:
After revisiting the verse structure, the song introduces an interlude that
maintains the initial chord progression, serving as a bridge between sections
of the narrative. This is followed by a shift in the song's second half to a new
progression of Am, G, C, and F, reflecting a change in the narrative perspective
and adding depth to the story being told.

Verses with New Progression:
The verses that follow adopt this new chord progression, delving deeper into
the narrative with a focus on personal and shared experiences related to Long Island.
This section, with its mention of specific places and memories, is marked by
a sense of nostalgia and unresolved feelings. The chords support the storytelling,
with the shift to F adding a sense of resolution or finality to each phrase.

Playing Techniques and Emotional Expression:
- Strumming Pattern: Opt for a strumming pattern that matches the song's reflective nature.
A combination of down and upstrokes can be used to emphasize the emotional weight of
the lyrics, with a softer touch during more introspective moments.
- Dynamic Range: Pay attention to the song's dynamic shifts, especially when transitioning
between chord progressions. Use these changes to highlight the narrative developments
and emotional shifts within the song.
- Emotional Delivery: The key to effectively conveying this song lies in the emotional delivery.
Allow the guitar to serve as an extension of the narrative, expressing the longing, reflection,
and nuanced emotions embedded in the lyrics.