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What key is this song?

Discussion in 'Jazz Technique [DB]' started by josiah goldfish, Jul 1, 2012.


  1. The song 'I've got a great idea' by Harry connick jr. Does anyone know what key it's in? Or could someone listen to it and tell me what they think? It sounds similar to the maj scale (Bb) but there's a few extra notes? I'm really stuck and I really need help with this. :'(
    Thanks
    Joe
     
  2. Ed Fuqua

    Ed Fuqua

    Dec 13, 1999
    NYC
    Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
    Do you understand secondary dominance?
     
  3. Uh, no. I'm completely new to jazz, I've been trying to play bass lines that sound reasonably simple. Is secondary dominance a mode?
     
  4. skwee

    skwee

    Apr 2, 2010
    Minneapolis
    Yeah, that tune's in Bb--but Harry likes interesting variations on the traditional chord progressions.
     
  5. Ah, ok. Do you know what the chord progression to the song is so that I can try and figure out the relations? I can pretty much play up to about 40 secs in, but some bits sound a little bit major, for want of a better word.
     
  6. skwee

    skwee

    Apr 2, 2010
    Minneapolis
    I don't know it right off hand. The tune sounds like it's somewhat based on the "I Got Rhythm" changes (at least the form), so maybe try those changes, but sing Harry's melody over it, and substitute what doesn't work.




    To address the question about dominants:
    Secondary dominants take you to another chord which is not the tonic of the key. For example, if you were scooting along in E, but you want to modulate to A, you could change that E chord to an E7 and it will lead you to that new key area because the E7 functions as a dominant to the A chord. Clear as mud?
     
  7. Oh, ok. I sorta get it now. I'll have to carry on reading my theory books :D
     
  8. Ed Fuqua

    Ed Fuqua

    Dec 13, 1999
    NYC
    Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
    Most compostions in this idiom, while they do have (most of the time) a key signature, don't stay in one key. Even when the melody stays diatonic to the key signature, the harmony behind the melody can point at any number of different "keys of the moment". It's not really a modulation, but you do function in a different key for however long the harmony keeps you there (whether it's something the composer has done or it's something you hear and can convey). So it's not just that "E7 functions as a dominant to A" as it is any time you see/hear a chord in a progression that is NOT diatonic to the key signature, you are dealing with material from a new "key of the moment" and you need to look at the larger picture and see what you're dealing with. It's a lot to deal with and typing to strangers with no good way to ascertain depth of knowledge is not the best way to deal with this. Sitting in the same room in with a live human being who has a deeper understanding of this stuff is.
     
  9. Ross Kratter

    Ross Kratter Gold Supporting Member

    Dec 31, 2010
    New York, NY
    Artist, RS Berkeley, La Bella Strings and Phil Jones Bass Amplification
    +1.
    Absolutely right in all respects.
     
  10. DC Bass

    DC Bass Supporting Member

    Mar 28, 2010
    Washington DC
    W00T!!!

    Respectfully,

    Joe
     
  11. skwee

    skwee

    Apr 2, 2010
    Minneapolis
    Ooo, I totally should have said "temporary tonicization" or something. +400 to the being in the same room with someone who can explain it.
     

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