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Sweet Home Alabama

#41
I'm with the 'G' crowd. One sharp and feels at 'home' on G maj chord. Would also mean that chords are simple I IV V (or V IV I in sequence order), which therefore resolves in pleasing plagal cadence, giving the 'home' effect.

Just because the chord sequence starts on D, doesn't mean that's the key. Rookie assumption.
 
#42
ga_edwards said:
I'm with the 'G' crowd. One sharp and feels at 'home' on G maj chord. Would also mean that chords are simple I IV V (or V IV I in sequence order), which therefore resolves in pleasing plagal cadence, giving the 'home' effect.

Just because the chord sequence starts on D, doesn't mean that's the key. Rookie assumption.
Click to expand...


However, since the song *resolves* to D it's a much stronger argument. Play the tune and end on the G chord - watch for the funny looks.
 
#43
The OP's original question was the correct one. The song is in 1 sharp, but the key center is D. That puts it into Mixolydian mode. And yes, it does matter to the bass player, because the runs/riffs use the modal notes. Mixolydian and Dorian are the two most used modes, both very common in rock/blues. Harp players are playing in mixolydian when they play cross harp.
 
#44
vickde said:
The OP's original question was the correct one. The song is in 1 sharp, but the key center is D. That puts it into Mixolydian mode. And yes, it does matter to the bass player, because the runs/riffs use the modal notes. Mixolydian and Dorian are the two most used modes, both very common in rock/blues. Harp players are playing in mixolydian when they play cross harp.
Click to expand...

^Bingo.
 
#45
I think that this is one of those tunes that falls into the “first chord is…” category. As I noodle around with it for the sake of this discussion I don’t get the feeling that I am in any particular key, although I do feel what Fretless is saying about G. But at the same time I feel the centricity towards D. Indeed, it is ambiguous. Following along chord by chord seems to work best for me. As stated in other posts, the bass line contains nuances and varied figures that show it was given some thought… and why wouldn’t it? I don’t buy into Pacman’s argument that the C chord is related to A7 via the diminished cycle. You would need to hear the other(s) work just as well in that same spot. I’m not sure that is the case here. But hey… it does work on paper.

Last thing… I wonder if anybody in this crowd gave the band a funny look for ending on a G chord.

 
#48
ga_edwards said:
I'm with the 'G' crowd. One sharp and feels at 'home' on G maj chord. Would also mean that chords are simple I IV V (or V IV I in sequence order), which therefore resolves in pleasing plagal cadence, giving the 'home' effect.

Just because the chord sequence starts on D, doesn't mean that's the key. Rookie assumption.
Click to expand...

I still contend that since I hate singing any tune in the key of D and LOVE singing any song in the key of G, that it must be out of D. Otherwise, I'd sound like an angel.....
 
#49
For what it's worth, the song's producer (Al Kooper) has said that the song is in D. But the song's co-writer (Ed King) thinks it's in G (the guitar solos are based primarily on the G major pentatonic).

I tend to agree with Pacman that it resolves to D, but most of the live Lynyrd Skynyrd versions I've heard end on G.
 
#50
A little off topic, but could be related - How would you describe Billy Joel - You May Be Right? You can say it is in A Major right? But it seems that each chord change doesn't necessarily stay in the A Maj key, especially the You may be right ... I may be crazy riffs.

Also look at another Lynyrd Skynyrd song Gimme Three Steps. in D right? But there are a few fills out of key as well.

Do the vocals have a C# in them? Took a peak at some sheet music online and no C# for the vocals on the first page.
 
#52
vickde said:
The OP's original question was the correct one. The song is in 1 sharp, but the key center is D. That puts it into Mixolydian mode. And yes, it does matter to the bass player, because the runs/riffs use the modal notes. Mixolydian and Dorian are the two most used modes, both very common in rock/blues. Harp players are playing in mixolydian when they play cross harp.
Click to expand...

Yes, but in the context of the progression D C G, D mixo is conceptually the same as GMajor. I mean, the note choices are the same.

Further, judging by the vocal line, I feel the "home" on G, not D (...'s added to line up chords oveer vocals).

|D\\\.| C\\\ ....| G\\\| G\\\|
Sweet home, Alabama

| D\\\...| C\\\ .......| G\\\| G\\\|
Where the skies are blue.
 
#55
Febs said:
For what it's worth, the song's producer (Al Kooper) has said that the song is in D. But the song's co-writer (Ed King) thinks it's in G (the guitar solos are based primarily on the G major pentatonic).

I tend to agree with Pacman that it resolves to D, but most of the live Lynyrd Skynyrd versions I've heard end on G.
Click to expand...

Thanks! Now that is interesting. I didn't even know there was controversy surrounding this song when I started this thread. After reading Al Kooper's comments I wonder if something like this happened now:

1. The guitarist who wrote the original instrumental parts wrote it with "G" in mind.

2. He brought it to the band. Ronnie listened and wrote his own song words and melody, hearing it as "D". (Producer Al Kooper heard it as "D" based on Ronnie's melodies.)

3. Everyone loved it. No one even questioned anything.

4. Maybe the key/mode alters slightly during the guitar solo, and this had an influence on rock musicality, and everyone knows they were an influential band. But if anyone plays this song without guitar solos, I think it's going to sound like "D".
 
#56
I just give them a funny look for having such an awful singer, at least one that doesn't even sound close...


dtiii said:
I think that this is one of those tunes that falls into the “first chord is…” category. As I noodle around with it for the sake of this discussion I don’t get the feeling that I am in any particular key, although I do feel what Fretless is saying about G. But at the same time I feel the centricity towards D. Indeed, it is ambiguous. Following along chord by chord seems to work best for me. As stated in other posts, the bass line contains nuances and varied figures that show it was given some thought… and why wouldn’t it? I don’t buy into Pacman’s argument that the C chord is related to A7 via the diminished cycle. You would need to hear the other(s) work just as well in that same spot. I’m not sure that is the case here. But hey… it does work on paper.

Last thing… I wonder if anybody in this crowd gave the band a funny look for ending on a G chord.

Click to expand...
 
#57
dtiii said:
n paper.

Last thing… I wonder if anybody in this crowd gave the band a funny look for ending on a G chord.
Click to expand...

Of course not, not the way that they play it with such emphasis. But it does sound like they are ending the song on an unresolved 4 chord. But that kind of thing is done so often (for effect) that most people wouldn't give it a second thought.
 
#58
But I have to admit, I hear a few "funny" notes during parts of either the piano or guitar solo now that I think about it. I always have. But it never bothered me. I never even thought much about it, I probably just thought that the musician had made a minor mistake, and I know I've heard stuff like that lots of times.

Producer Al Kooper said that his ear eventually got used to the way the guitar solo sounded, after listening to it so many times.
 
#60
funnyfingers said:
A little off topic, but could be related - How would you describe Billy Joel - You May Be Right? You can say it is in A Major right? But it seems that each chord change doesn't necessarily stay in the A Maj key, especially the You may be right ... I may be crazy riffs.
Click to expand...

Billy Joel uses the flat-7 chord in that also. But then he also uses most of the regular natural chords. I don't know if he is changing key or what. It's actually similar to the Beatles' "Help!" in those particular chords. Whatever it is, it sounds amazing.
 

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