See my Tunings Megatable for further such nerdery: more numbers, intervallic relations, comparative methods, etc.

Insights to share? Comment via YouTube, or get in touch! Third comes singing: for in singing we pour out our hearts and regain our voice.” (from Judy Collins’ memoir Sweet Judy Blue Eyes: My Life in Music) Second comes silence: for in the silence we understand solace, beauty, and comfort from something greater than ourselves. “There are three stages of grief…First there is weeping: for we all must weep for what we have lost.

Judy Blue Eyes Woodstock – Crosby, Stills, & Nash (1969):.

One morning he fit everything into place, flailed the opening guitar licks and sang, ‘It’s getting to the point, where I’m no fun anymore…'”. But it’s not winning me back‘”.Īs per Dave Zimmer’s CSN: The Biography, the accompaniment and final arrangement, “grew out of a group of acoustic guitar patterns… in what Stills has called ‘Bruce Palmer modal tuning’.

Collins later recounted her reaction to first hearing it, in a private hotel-room performance: “Afterwards, we both cried – and then I said, ‘ Oh, Stephen, it’s such a beautiful song. Though amicable, the separation had pained Stills in particular, leading him further into experimental songwriting sessions – and soon resulting in the oddly balanced exhortations of Judy Blue Eyes. The track arose from Stills’ reflections on a recently-ended relationship with Judy Collins, a razor-sharp singer and social activist five years his senior. CSN members have also used the tuning (+ close transpositions) on Déjà Vu, Word Game, Carry On, and Love the One You’re With (cp.4). Bruce Palmer’s tuning will forever be associated with Suite: Judy Blue Eyes – a bold Stephen Stills composition immortalised through CSN’s Woodstock performance in 1969, reaching millions via the concert film and accompanying soundtrack release.

Suite judy blue eyes woodstock