226 Reply by Astronomikal

(15 replies, posted in Music theory)

topdown wrote:

They call it the "Nashville Numbering System" for a reason - it's meant for use with cowboys chords for songs that are written in one key and a max of 3 chords. For flatdiminshedminorseventh chords you've got to look for the Jazz numbering system which looks a lot like Chinese Arithmetic.

Cool!  In the coincidence to top all coincidi*, it just so happens that I have an advanced degree in Chinese Trigonometry, so I'm golden.  I'll get right on it.

Thanks!

* = plural of coincidence

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227 Reply by Astronomikal

(15 replies, posted in Music theory)

Baldguitardude wrote:

Never heard it. That's pretty. Where'd you get that transcription?

It's a bit bubblegummy, but my wife likes it, so I learned it for her.

http://www.youtube.com/watch?v=GbKE0gJETA0

It's actually a piano song originally recorded in Db, so capo 1 as needed.

One interesting (to me) thing about this song is that it has a 1/2 step DOWN key change for the first half of the bridge, then the second half comes back up to the original key.  Maybe a lot of songs do that, but I guess this is first one that I really noticed.

The transcription?  I can't remember exactly where I got it, but I probably found on on the internet somewhere and then transposed it and otherwise changed it as needed to suit my ear.  I have a Microsoft word version of it if anyone wants it.

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228 Reply by Astronomikal

(15 replies, posted in Music theory)

Baldguitardude wrote:

Are these chords from a real song or just something you made up?

They're from a real song.  Second half of the verses of "It Might as Well Rain Until September" by Carole King.

I play it like this:  "(F) For all the (Fm) fun I'll have while (C) you're so far a(D7)way, it (Ab) might as well (G) rain until Sep(C)tember."

The Ab looks really out of place until you hear it in context, then it actually works.

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229 Topic by Astronomikal

(15 replies, posted in Music theory)

I've been reading up on the chord numbering system and think I understand most of it.  On a chord chart, designations of major chords are shown by a chord number, and altered chords (such as minor, 7th or sus4) would normally be shown as the chord number followed by a suffix (such as m, 7 or sus4).  Other variations may show the minor as a minus sign, or a lower-case Roman numeral.

Right?

Regardless, two questions I haven't found the answers to yet:

1.  How do you show a chord that is not part of the range (I-II-III . . .)?

Example:  Playing a song (say in the key of C) and part of the chord progression goes:  F  Fm  C  D7  Ab  G  C
The chord chart could say:  IV  iv  I  II7  [X]  V  I

How would you designate the spot for the Ab (the [X] above)?  Would you show it as bVI?  How about #V?


2.  How do you designate key changes that occur in the middle of the song?

Thanks.

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230 Reply by Astronomikal

(2 replies, posted in Song requests)

Welcome to the forum.

Assuming this is it:  http://www.youtube.com/watch?v=F8so8vOjcsM

I hear E - A - F#m - E.  One measure per chord.  Repeat throughout.

Nice, simple little song.

If you're not good with barre chords yet, put a capo on fret 2 and play D - G - Em - D.

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231 Reply by Astronomikal

(1 replies, posted in Song requests)

http://www.countrytabs.com/songs/?id=59407

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232 Reply by Astronomikal

(3 replies, posted in Music theory)

Fire art  wrote:

C Am F G7

You've found what some people refer to as the "doo wop" chord progression (I-vi-IV-V).  It was used in a lot of early rock and roll ballads ("Earth Angel" and "All I Have to do is Dream" come immediately to mind).  It's still pretty common.

If you want to practice it in a couple of different keys, do this:

Key of G:  G  Em  C  D (or D7)

Key of A:  A  F#m  D  E (or E7)

Key of D:  D  Bm  G  A (or A7).

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233 Reply by Astronomikal

(14 replies, posted in Music theory)

Baldguitardude wrote:

Here's an analysis that applies to SBR. Might skip to the part that talks about lowering the root."

Did you intend to attach a link?

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234 Reply by Astronomikal

(14 replies, posted in Music theory)

I still haven't gotten my head around the whole modes thing.  I think I need to find a music theory course at my local community college or somewhere.  There is only so much I can teach myself.

For example, I pretty much get the whole 1-4-5 thing and can usually hear it when I listen to songs.  But I sometimes get thrown off when I hear a song such as the Eagles' version of "Seven Bridges Road".  The progression in the verses is:  D - C - G with resolution back to D (1-b7-4).  So the song is in D, but it obviously doesn't follow the 1-4-5 pattern.

One could argue that it's in G, which would follow the 1-4-5, but my ear recognizes that the D is the "home" chord.  (Would that be what you'd call the tonic?)

Your explanations help.  Thanks again.

PS:  Apologies to the OP for threadjacking.

***EDIT:  This conversation seemed familar, and it turns out that it was:

http://www.chordie.com/forum/viewtopic.php?id=19937

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235 Reply by Astronomikal

(20 replies, posted in Acoustic)

Welcome to the forum.  Here are some sites you might find useful:
http://www.classic-country-song-lyrics.com/index.html
http://www.cowboylyrics.com/
Some of the songs have lyrics only, but most have chords as well.

In addition, one of our members created this.  You can enter chords that you know and it will bring up a list of songs which use those chords.
http://www.chordie.com/forum/viewtopic.php?id=19967

Enjoy the journey!

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236 Reply by Astronomikal

(14 replies, posted in Music theory)

Russell_Harding wrote:

I would find some chords that sound good with the melody you have chosen and not worry about the mode smile

Baldguitardude wrote:

You are technically correct but this is a very sanitary, unfeeling way to write music. Russell has the right idea. smile

Well . . . maybe.  Upfront disclaimer:  I know squat about songwriting.

Having said that, it seems to me that Russ would be right assuming that USMC has a melody already "chosen".  That's not necessarily a valid assumption.  Maybe the intent here is to find a nice chord progression within a particular mode of a particular key.  Once that is established, then work on harmony and melody lines using the appropriate scale to go along with the chords.

I would think that is how a lot of songs are written, i.e. chords first, followed by melody.

But like I said, I know squat about it.

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237 Reply by Astronomikal

(8 replies, posted in Chordie's Chat Corner)

Russell_Harding wrote:

It looks like they did agree on a few important items, . . . 2.not raising taxes on anyone who earns less then $400.00 a year . . .

Sorry, but that's not correct.  The payroll tax cuts were allowed to expire, which means your taxes will go up if you earn MUCH less than $400K per year.

BUT, I guess it depends on how we want to look at it.  If we had a cut, and no longer have a cut, is that an "increase"?  In my tiny little mind that's a yes.

Here's a pretty good breakdown.
http://www.bloomberg.com/news/2013-01-0 … holds.html


But back on topic, the light bulb thing is being touted as a green energy initiative, but IMO it's all about political backscratching.  I won't get into details because it infuriates me too much, but one of the big political bankrollers is General Electric.  They stand to "benefit" (understatement intended) from this light bulb issue.

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238 Topic by Astronomikal

(1 replies, posted in Chordie's Chat Corner)

During the Kennedy Center Honors, typically there is a concert given where other bands pay tribute to the musicians being honored.  Led Zep were one of 2012's honorees.

The concert was televised here in the US a week or so ago.  Ann and Nancy Wilson led a fantastic version of Stairway to Heaven.  If you haven't seen it, I recommend it:
http://www.youtube.com/watch?v=mjhkMfubxvQ

(Yeah, I know the song has become somewhat of a cliche, but this may remind you that it's still awesome.)

Enjoy, and Happy New Year to all.

'Nom

PS:  For those who aren't familiar, here is the Wikipedia article on the KCO: 
http://en.wikipedia.org/wiki/Kennedy_Center_Honors

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239 Reply by Astronomikal

(2 replies, posted in Song requests)

Welcome to the forum.  Great song.

This is a tough one.  I hear a F#m7 on "tell" at 2:42, and the chords (I think) you are looking for make up an ascending progression that resolves back to an A on "tell" at 2:48.

Assuming that's right, the question is, how do we get from F#m7 to A in 4 steps?

Try this.  I don't think it's 100% correct, but I think it's the right idea:

F#m7 (tell @ 2.:42)
G (barre 3)
D (barre 5)
E (barre 7)
A (tell @ 2:48)

Play around with those (or variations of them) and see if you can make it work.  Otherwise, someone else may be able to give you a better answer.

***EDIT:***
Disregard the above.  I found a tutorial which sounds more correct:  http://www.youtube.com/watch?v=rYeh4mYqH9g

At 6:48, the guy in the video says this should be the ending progression:

F#m7 ("tell")
D7 - not sure about this, but give it a go
F - sounds right
G - sounds right
A ("tell")

Good luck with it.

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240 Reply by Astronomikal

(2 replies, posted in Song requests)

Sorry, no.  I can't find them either.

Here's the song on YouTube:  http://www.youtube.com/watch?v=_iOIjBrsQ8U

The only other suggestion I have is that you could listen to it and try to transcribe them yourself.

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241 Reply by Astronomikal

(14 replies, posted in Chordie's Chat Corner)

topdown wrote:

any Christmas song sung by Bruce Springsteen is like fingernails on a chalkboard to me!

I'll agree.  His version of "Santa Claus is Comin' to Town" just flat out sucks.  But then again, I never liked that song anyway.

I'm getting grinchier the older I get.  That's sad, really.  sad

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242 Reply by Astronomikal

(14 replies, posted in Chordie's Chat Corner)

topdown wrote:

Gotta find the chords and lyrics

Here it is:  http://tabs.ultimate-guitar.com/d/dropk … us_crd.htm

I agree.  That one's awesome.

Puts me in the mind of another one of my favorites:  "Fairytale of New York" by the Pogues

http://www.youtube.com/watch?v=j9jbdgZidu8

The lyrics are spectacular.

EDIT:  But, we're getting OT and in danger of threadjacking.  We're supposed to be talking about "Worst" Christmas songs in this thread.  smile

In that vein, even though my wife loves Harry Connick, Jr. and REALLY enjoys playing his Christmas CD over and over (and over and over and over . . .), I have to leave the house when this gem comes on:

http://www.youtube.com/watch?v=2G-dTthydW8

I don't throw the word "hate" around lightly.  But god help me, I HATE that song.

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243 Reply by Astronomikal

(14 replies, posted in Chordie's Chat Corner)

I assume this is what you are referring to?  http://www.youtube.com/watch?v=NYtVA8ZsV0A

Regardless, you're right.  That's BAD.

As with years past, i continue to loathe these:

Jingle Bell Rock
Rockin' Around the Christmas Tree
Santa Baby


I absolutely love "O Holy Night".  Exept not this version so much. 

If you haven't heard this yet, check it out.  It's epically (sp?) horrible.

http://www.youtube.com/watch?v=Mk4woNRD7NQ

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244 Reply by Astronomikal

(6 replies, posted in Music theory)

Baldguitardude wrote:

That make sense?

Yes, thank you.

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245 Reply by Astronomikal

(6 replies, posted in Music theory)

Russell_Harding wrote:

The 6th tone of any major scale is the relative minor of that key and a 6th chord can be substituted example: C to Am could be played as C to C6 because the 6th tone or interval of a C major scale is A

I sort of agree with you because one thing I also discovered for myself (using your example of the key of C), is that a C6 chord (x32210) can also be written as Am/C, or "relative minor/root".  I assume that holds true for other keys as well.

However, personally I wouldn't sub the 6 for the minor because (1) I would want the A in the bass, and (2) Am is easier to play than C6.  C to C6 is a rather subtle change, but C to Am is more dramatic.

To each his/her own.  Thanks for the reply.

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246 Reply by Astronomikal

(11 replies, posted in Chordie's Chat Corner)

Interesting.  It sounds like that might be what was used to play the theme to the original Dark Shadows TV show.

http://www.youtube.com/watch?v=Dpr6IfYW5Lg

Late edit:  I'll bet it's also what's used to make that weird sound in Good Vibrations by the Beach Boys.

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247 Topic by Astronomikal

(6 replies, posted in Music theory)

I’ve been playing around a bit with the structure of 6th chords, primarily using D6.

From what I can tell, D6 sounds good played as either XX0432 or XX0202.

I found the XX0432 by accident, paying a Daug and sliding up a fret on the G string, but I notice it's not listed as a variation in chordie's chord chart.  This is what led up to my question.


If you look at the notes in each one, this is what you see:

XX0202 = D – A – B – F# (form:  1-3-5-6, or major triad + 6)

XX0432 = D – B – D – F# (form:  1-3-6, or 5 suspended in favor of the 6)


So my question is this:  Does the form of a 6th chord include the 5, or not?

I can't seem to find a clear answer on the interwebz, so I'm hoping you can help.  I see references to 6th chords and add6 chords, and I can't tell whether they are two names for the same thing.  If not, what I show above might be a 6 (1-3-6) and an add6 (1-3-5-6).  ?

Thanks,
'Nom

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248 Topic by Astronomikal

(3 replies, posted in Chordie's Chat Corner)

This is pretty cool.

A guy plays 100 guitar riffs back to back which covers a "brief history of rock and roll".  A couple of things:

1.  He does it in one take (no cuts), and

2.  There's a scanner below the video which shows the tablature of what he is playing in real time.  So if you ever wanted to learn any of these, this might be a good resource.

http://www.soundslice.com/yt/xiC__IjCa2s/

Enjoy.

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249 Reply by Astronomikal

(16 replies, posted in Chordie's Chat Corner)

Good Riddance (Time of Your Life) - Green Day.

Not an end of the world song, but has a feel of "finality" to it.

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250 Reply by Astronomikal

(3 replies, posted in Acoustic)

It may not be exact, but it sounds very close to the strumming pattern for Wonderwall.

http://www.youtube.com/watch?v=UiIa_7B3Us8

I'll bet if you use this pattern nobody will know the difference except for you.  And me.  smile

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