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Submission Charlotte Dos Santos - Red Clay
- Thread starter LeeNunn
- Start date
Hey Lee, just a quick FYI. I'm not getting a link for the sheet music on my end on this one. And thanks for all of the great work that you do . . .
Thanks! Just making sure you're paying attention. ;-)
Fixed the chords in measure 48. 4th measure after the modulation around the 2:00 mark. Interesting slash chords.
One more time. Don Kasper points out that my C#min7 is actually a C#maj add2. I try to notate the chords on transcriptions because it gives me a better context for the bass line. However, I sometimes struggle with identifying chords. You would think that I could at least distinguish major from minor. Anyway, thanks Don!
I (personally) would use NO SHARPS/ NO FLATS for the key signature for the Melody, even though the (stand-alone )"Melody" is "in C# minor"...
The (Harmony is,) "Changes" are ,so far OUT of C#minor, that a key signature of "4 #'s" would only cause false expectations, Harmonically speaking.
(Yes - the Melody players/singers have the luxury of hearing only C# minor as the partial scale for the melodic exposition, but that quickly becomes useless and obsolete for the Piano, Bass, and possible soloist.)
Using the Key Sig of C# Major (7#'s !!!!!!!) would be silly. IMFO.
I KNOW - the Theory Nurds and Bookish, Bespectacled, Pearl-Clutching, Ivory Tower Types will need to repair to their Fainting Couches without the "Key Signature of C#minor", but they are stuck in the 19th Century and I'm NOT.
Also, too -
Upon further listening, the Changes I hear under the Melody are :
C#maj,add2 / Bmin7,9,11 / Dmin7,9 - Emin7,9 / F#minor7,9 - G#sus, no 7th? /
IMFO, of course, as always.
Thanks, as always, Lee.
My aging ears wreak havoc on me:
C# - F#min/Dmaj7 - Fmaj7/Emin - F#min/B13(#9)(omit 3rd).
With F#min/Dmaj7 we have B in the bass.
With Fmaj7 we have D in the bass.
With B13(#9)(omit 3rd) we have G# in the bass.
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Excellent.
F#min with B in the bass on Beat 1 and Beat 2 could be written as chord ?
Dmaj7 with B in the bass on Beat 3 and Beat 4 could be written as ?
Fmaj7 with D in the bass could be interpreted as ? chord?
Even B13 (#9)(omit 3rd) with G# in the bass could be written as??? Chord.
B13(#9)(omit 3rd) with G# in the bass - (ascending) G# - E# - A - B - F#.
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B7,9 no 3 - BUT, are you referring to m.2 of the 4 bar section??? It is Bmin7,9.
Bmin7,9...c'mon Who - Intro to Harmony 101.
Dmin7,9...c'mon Who - Intro to Harmony 101
I'm not sure what you're hearing as the bassline, but the YT above and the Original Bassline is ROOTED - C# B D E F# G#, and the chords sounding ABOVE those notes are named after those roots, and should be expressed and spelled from the Bottom Up.
You seem to be over-complicating the Harmony by suggesting some kinds of unnecessary "slash chords". Whenever possible it is best and most accurate to hear and SPELL the Aggregate Harmony, measure by measure, from the Bass Note - UP, including the chordal instruments' voicing(s), as well as the Melody note(s).
...Forest for the Trees, etc.
IMFO, of course.
Thanks for your interest, Mr. Who...
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Don,
Thank you as always for your knowledgeable comments.
(My amateur thoughts.)
As Lee's bass transcription indicates, there is not much going on in the bass - samo samo.
In the harmony part, sometimes I can hear that add2 (add9) with C#, sometimes not.
In the second measure, the keys clearly play a simple F#min in the first part of the bar - without D!
The chord should be Bmin9(omit 3rd.)
In the second part, we have a chord movement from F#min to Dmaj7 - we hear that added D note.
And now, the chord becomes Bmin9 in full.
(It acquires 2 chord harmonic rhythm, as in Measure 3 and Measure 4.)
About the last chord with the bass note of G#.
Bass - G#.
Keys - (ascending) E# - A - B - F#.
G#13 (b9)(omit 5)?
Thank you for your input!
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This is why I love TalkBass! I thought it was a simple question.
Don,
As a "small gesture of my friendship appreciation,
" I'd like to ask you a favor - to help me with writing down the chords for a "Shout Music Bass Challenge." Otherwise, I'm going to make a fool of myself again with those "slash" chords.Lee has transcribed the bass-line.
I'd like to re-verify the chords. I hear lots of chord "additives", or, maybe, it's just a church organ sound.
I remember your sentence:
"I am just a Double Bass Knucklehead from the Other Side with a bit too much free time on my hands."
You are extremely good with Harmony.
Thank you in advance.
https://www.talkbass.com/threads/travis-dykes-gospel-bass.1663960/
I have a better idea - Why don't you extract the notes of the Harmony, and then I'll assist you in "naming" the chords, so that you avoid the "Fmaj7 over D in the bass....." issues. "Give a man a fish...teach a man to fish..." etc.Don,
As a "small gesture of my friendship appreciation,
Lee has transcribed the bass-line.
I'd like to re-verify the chords. I hear lots of chord "additives", or, maybe, it's just a church organ sound.
I remember your sentence:
"I am just a Double Bass Knucklehead from the Other Side with a bit too much free time on my hands."
You are extremely good with Harmony.
Thank you in advance.
https://www.talkbass.com/threads/travis-dykes-gospel-bass.1663960/
(Hey, I don't have THAT MUCH "free time...."!)
Yes/No?
Thanks, Who.
