Honestly, I don't know how you can possibly tell anything from that. Sorry.
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What do you call it?
- Thread starter Slade N
- Start date
You listen the song with "Transcribe!" just slowly and EQ-ed.
It's ALL THERE.
Here is a 2-second soundclip of Guitar part in the very beginning of Intro.
Do you hear that F# note with C#min11?
Do you hear the second A chord with clearly pronounced C#?
https://www.talkbass.com/attachment...2/?temp_hash=7023f53422a7c474e50e397e9549c480
Yes, but you’re talking at cross purposes. Richard was describing the main guitar part, which Andy plays live, and that everyone thinks of when they think of this song. That part just plays the sus2 (except the last chord).
Yes, the main guitar part being the one shown, or paraphrased, in post #168. The harmony guitar part does add more notes. But once again, the question is, what are we intending to use the chord symbols for? They're not there for analysis, they're there to tell people what chords to play.
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Yes, you correct.
I've used the studio recording of that song, not the live one; therefore, the chord is C#min11, and the second one - A with clearly pronounced C# - is not Asus2.
That's how I would notate it.
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A chord symbol doesn't have to include ALL the notes played in the bar or in the duration of the chord. This wouldn't make sense.
The best way is to write the best chord symbol that represents the harmony for everybody to understand (on a real gig anyway).
So here I believe the best notation would be C#min(add9)-A(add9)-B(add9)-F#min(add9). I wrote the min to imply the harmony with the right key signature which is 4 sharps. Then write down in the staff the 2nd guitar line that support the harmony.
Writing down C#min11 wouldn't be right because a piano player would play a very dense and fancy voicing that doesn't belong there and that doesn't represent the sound of the guitar voicings.
That is my opinion from my experience on the bandstand for 40+ years.
The best way is to write the best chord symbol that represents the harmony for everybody to understand (on a real gig anyway).
So here I believe the best notation would be C#min(add9)-A(add9)-B(add9)-F#min(add9). I wrote the min to imply the harmony with the right key signature which is 4 sharps. Then write down in the staff the 2nd guitar line that support the harmony.
Writing down C#min11 wouldn't be right because a piano player would play a very dense and fancy voicing that doesn't belong there and that doesn't represent the sound of the guitar voicings.
That is my opinion from my experience on the bandstand for 40+ years.
This.^^^
I *might* not include the "add9" for the F#m, because it quickly resolves up to the 3, which none of the others do, but that's a pretty small point.
Yeah, though no-one actually played C#m11, so I’d argue it’s not a helpful way to notate it for a musician to play. It doesn’t really convey the feeling of the chord. Again, though, chord symbols don’t really convey this part well.
Comedy central.
Yes, you are correct. I have added that F# note my self. Sting was against it, but I insisted.
N.B. You don't hear that F#. Erase from you memory.
Yes, you are correct. I have added that F# note my self. Sting was against it, but I insisted.
N.B. You don't hear that F#. Erase from you memory.
There is clearly pronounced B note in the first bar as part of C#min7 chord.
Just don't write it, please.
Forget about F#. It was just a "technical glitch" in the studio.
Andy has not played it LIVE.
Comedy, comedy, comedy...
Ok, so now you’re asking for our advice and making fun of our answers.
The point I was making is that no one single guitar part plays C#m11. So writing it as a chord symbol is perhaps not helpful. And I don’t think it conveys the feeling of this chord particularly. Anyone reading C#m11 is going to play something that probably won’t convey the sound of this song authentically (to the extent that it’s possible to, using chord symbols).
If I sit at a piano and play C#sus2 Asus2 Bsus2 etc, it sounds more or less like Message In A Bottle. Even if I don’t play the riff, it conveys something of the sound of that song. I’d argue that that wouldn’t be the case as much by playing the m11 etc.
Can I ask, what is the purpose of this discussion? Are you writing chord symbols for someone to play? Are you just trying to analyse the harmonic effect?
And, are you trying to learn how chord symbols are used in practice? It seems like you have your own ideas about his chord symbols should be used and constructed. There are experienced musicians here giving you pretty consistent advice, but when our answers aren’t what you want to hear, you’re telling us we’re wrong.
What is it that you want from this discussion?
I have gleaned over time that for @Whousedtoplay , the goal is simply discussion.
Some have taken his posts in some other spirit on occasion
But I believe he (like me) just loves "talkin shop"
Some have taken his posts in some other spirit on occasion
But I believe he (like me) just loves "talkin shop"
Sorry, my account was locked for three days.
No need to discuss about it.
Thank you for your information.
