There is no disagreement on what the guitarist is playing. But the song was written by the bassist on piano. You asked for information on this, and many have attempted to give their opinion. But now it sounds like you just want to argue.
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Why does this bass line work?: Under the Milky Way
- Thread starter Spectrum
- Start date
There is no disagreement on what the guitarist is playing. But the song was written by the bassist on piano. You asked for information on this, and many have attempted to give their opinion. But now it sounds like you just want to argue.
There are half a dozen youtube videos showing how to play this on guitar, and they don't all agree. Sorry for pointing that out.
Speculation leads to ambiguity leads to confusion.
We live in an age where you can find the composer (or band members) directly online (if still living). Hit them up with a direct question about the guitar voicing and post back here. I think many would be flattered and happy to offer insights.
Then we can all talk about the theory, arranging, and psychoacoustics and why the song “works”.
We live in an age where you can find the composer (or band members) directly online (if still living). Hit them up with a direct question about the guitar voicing and post back here. I think many would be flattered and happy to offer insights.
Then we can all talk about the theory, arranging, and psychoacoustics and why the song “works”.
@Spectrum, Looking back at a few of your resent posts, I think you may be confusing the use/meaning of Amin as a KEY or a CHORD. (my apologies if thats not the case)
in the KEY of Amin the notes are ABCDEFG (no sharps or flats in this key)
these are the same as the notes in the key of C (just staring on C) CDEFGABC
...so yes there is no F#. And an F# playing in the key of A minor /C major would have "tension"
(as experienced when you try the F# during the intro of the song).
But there are different types of A minor chords in DIFFERENT KEYS.
Amin in key of C: ABCDEFGA (Rt 2 b3 4 5 b6 b7 8) = A Aeolian scale (aka Natural minor)
Amin in key of G: ABCDEF#GA (Rt 2 b3 4 5 6 b7 8) = A Dorian scale
Amin in key of F: ABbCDEFGA (Rt b2 b3 4 5 b6 b7 8) = A Phrygian scale
Keep in mind, in modern music (post 1700s? early baroque era, any music history buffs out there?) the use of a KEY in a song is not global. Meaning a song can move from key to key within a song or even borrow chords/scale voicings from different keys during a section, part, or even a single beat of a song. So the use of a chord in one section of a song doesnt mean the whole song is in that key.
That being said:
All of that is just the "math", analysis, and the "how" it works. But the reason "why" it works is the tension in the intervals: Its ART... shades of color layered together forming a pleasing picture.
as someone very early in the thread said, "because it sounds good"
hope that helps!
in the KEY of Amin the notes are ABCDEFG (no sharps or flats in this key)
these are the same as the notes in the key of C (just staring on C) CDEFGABC
...so yes there is no F#. And an F# playing in the key of A minor /C major would have "tension"
(as experienced when you try the F# during the intro of the song).
But there are different types of A minor chords in DIFFERENT KEYS.
Amin in key of C: ABCDEFGA (Rt 2 b3 4 5 b6 b7 8) = A Aeolian scale (aka Natural minor)
This A Minor chord is built on the 6th degree of C major key.
Amin in key of G: ABCDEF#GA (Rt 2 b3 4 5 6 b7 8) = A Dorian scale
This A Minor chord is built on the 2nd degree of G major key.
Amin in key of F: ABbCDEFGA (Rt b2 b3 4 5 b6 b7 8) = A Phrygian scale
This A Minor chord is built on the 3rd degree of F major key.
Keep in mind, in modern music (post 1700s? early baroque era, any music history buffs out there?) the use of a KEY in a song is not global. Meaning a song can move from key to key within a song or even borrow chords/scale voicings from different keys during a section, part, or even a single beat of a song. So the use of a chord in one section of a song doesnt mean the whole song is in that key.
That being said:
- Milky Way is in the KEY of Amin,
- once the bass enters the F# is a "borrowed" chord from the key of G (which gives us the D9/F# harmony),
- and the bridge is in the key of C using the chords G and F:
G GABCDEFG (from G mixolydian scale)
F FGABCDEF (from F lydian scale)
F FGABCDEF (from F lydian scale)
All of that is just the "math", analysis, and the "how" it works. But the reason "why" it works is the tension in the intervals: Its ART... shades of color layered together forming a pleasing picture.
as someone very early in the thread said, "because it sounds good"
hope that helps!
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I like that this thread digs "deeper" and deeper.
Here what I'd like to add.
Since my teenage years, I've always loved playing "Feelings".
Let's take a look at the intro chords.
(It's a cliche line.)
From here.
Morris Albert "Feelings" Sheet Music (Easy Piano) in E Minor - Download & Print
I was always "torn" how to interpret that chord in Measure 4.
Is it Emin/C#(Emin6 inversion) or as A(9)/C#.
What's more, I have always "improvised" with the next chord - Amin by playing A or C in the Bass.
Now.
Let's take a look at a very simple chord - Amin6.
Let's see the notes of its 3rd inversion.
Here what I'd like to add.
Since my teenage years, I've always loved playing "Feelings".
Let's take a look at the intro chords.
(It's a cliche line.)
From here.
Morris Albert "Feelings" Sheet Music (Easy Piano) in E Minor - Download & Print
I was always "torn" how to interpret that chord in Measure 4.
Is it Emin/C#(Emin6 inversion) or as A(9)/C#.
What's more, I have always "improvised" with the next chord - Amin by playing A or C in the Bass.
Now.
Let's take a look at a very simple chord - Amin6.
Let's see the notes of its 3rd inversion.
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Its an Emin/C# (Emin6 inversion) because there is no A being played in measure 4.
thats the classic chromatic "minor cliche" and its all over the place in music history. Anyone know where/when it was first used? <que Jeopardy theme>
Also a possible argument to where the Milky Way composer came up with his compositional choices
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Its an Emin/C# (Emin6 inversion) because this is no A being played in measure 4.
thats the classic chromatic "minor cliche" and its all over the place in music history. Anyone know where/when it was first used? <que Jeopardy theme>
Also a possible argument to where the Milky Way composer came up with his compositional choices
YES about your Milky Way compositional choices!
By the way, there are quite a few notations marking that Measure 4 as A/C#.
As you can “see” there are differences in each publishers version of the song Feelings. What do you hear ? Do you hear an A chord? Is there an A note being played in that measure? Its what you hear in the song, and not what do you “see” in the written music.
Play all three on piano and pick the one that truly represents the song.
Both “work” and are related, but they are not the same “sound”.
I merely gave analysis from what you originally attached.
"Believe only your own experience. There's no fact like one that you learned from your own life. " - Aristotle
Play all three on piano and pick the one that truly represents the song.
Both “work” and are related, but they are not the same “sound”.
I merely gave analysis from what you originally attached.
"Believe only your own experience. There's no fact like one that you learned from your own life. " - Aristotle
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YES!!!
I hear that A chord.
Here is the composer, Morris Albert singing "Feelings".
That clearly-pronounced A chord is at 0:18.
Here is a short sound clip just slower of that A chord at around 0:18.
https://www.talkbass.com/attachment...3/?temp_hash=45a4afa34563fe51dfde8615223aee9c
Well there you have it. Its an A/c#.
(I guess I was confused as to what you were asking. And apologies I didn’t look at the chord symbol in that example, I was looking only at the notation in the staff. My bad I get an F for the day.)
(I guess I was confused as to what you were asking. And apologies I didn’t look at the chord symbol in that example, I was looking only at the notation in the staff. My bad I get an F for the day.)
Fair enough. I don't trust most internet sources. But I like the version by Yourguitarsage on youtube. He showed it done correctly with the capo. The capo was not even in the original band video oddly enough, but you can still hear those higher chords. And he also explained the strumming pattern which could be helpful to some players.
In my opinion the bass changes the chord drastically. It's not even definite what the new chord is called. If I had heard the chord in a different song I would hear it as a D-something. But I can see how it could be an A-something in this context.
Yes, that's one of the things I love about both that song and music in general, how instruments can interact to create a soundscape that one instrument alone would not. It's one of the things I love about playing bass and trying to see what makes it tick.
Let's check the Church guitar player's fingering.
Let's take a look at the guitar fingers/position when the bass first time plays that F#.
It's the same as playing that Amin7.
Also, I'm carefully listening to that spot with Transcribe but I cannot hear that D chord.
Also, I hear some chords on the "organ".
Amin as (ascending) E - G - A - C
and during that inverted Amin6 chord, the "organ" plays (ascending) E - F# - (A) - C while the guitar plays that Amin7 chord.
Here is that spot just slower.
I don't hear that D note, but I could be wrong due to my old ears.
https://www.talkbass.com/attachment...4/?temp_hash=1251dbc41e7bb142630f482617e28b35
But...
Here we have an acoustic version (and older) of that song, and the guitar plays arpeggiated notes ascending A - D - A and descending E - D - G, or ascending C - D - A and descending E - D - G.
Yes we can clearly hear some D notes in the acoustic version of that song.
To sum up.
An early version has "more" D than the older (recent live) versions of that song.
Let's take a look at the guitar fingers/position when the bass first time plays that F#.
It's the same as playing that Amin7.
Also, I'm carefully listening to that spot with Transcribe but I cannot hear that D chord.
Also, I hear some chords on the "organ".
Amin as (ascending) E - G - A - C
and during that inverted Amin6 chord, the "organ" plays (ascending) E - F# - (A) - C while the guitar plays that Amin7 chord.
Here is that spot just slower.
I don't hear that D note, but I could be wrong due to my old ears.
https://www.talkbass.com/attachment...4/?temp_hash=1251dbc41e7bb142630f482617e28b35
But...
Here we have an acoustic version (and older) of that song, and the guitar plays arpeggiated notes ascending A - D - A and descending E - D - G, or ascending C - D - A and descending E - D - G.
Yes we can clearly hear some D notes in the acoustic version of that song.
To sum up.
An early version has "more" D than the older (recent live) versions of that song.
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Do note that they changed members - the guy pictured above (Marty Wilson-Piper, an original guitarist) left, replaced by Ian Haug. I wouldn't be surprised if there are resultant variations in the performance.
Let's take a look at another beautiful song that uses that "cliche of a descending bass line" and includes D9/F#.
We have that chord progression: Amin - Amin(7)/G - D9/F# - F.
Here is a slow clip of that progression.
https://www.talkbass.com/attachment...3/?temp_hash=9d637e6854f1e77daf26e03c0ab105b2
We have that chord progression: Amin - Amin(7)/G - D9/F# - F.
Here is a slow clip of that progression.
https://www.talkbass.com/attachment...3/?temp_hash=9d637e6854f1e77daf26e03c0ab105b2
Now, let's take a look at the "usual" way of using that inverted D/F# chord.
Here is a very simple Pop song, Castle on the Hill by Ed Sheeran.
He uses a lot of D/F# chords in Verse and Chorus to move from D(5) to G(5).
D(5) - D/F# - G(5) - Bmin7 - A(5).
It's probably the most "natural" way of using that inversion.
Here is a slow soundclip of that chord progression.
D/F# is at 0:03.
https://www.talkbass.com/attachment...2/?temp_hash=f376f4116cd98b3a4e8828b8f10cffa5
Here is a very simple Pop song, Castle on the Hill by Ed Sheeran.
He uses a lot of D/F# chords in Verse and Chorus to move from D(5) to G(5).
D(5) - D/F# - G(5) - Bmin7 - A(5).
It's probably the most "natural" way of using that inversion.
Here is a slow soundclip of that chord progression.
D/F# is at 0:03.
https://www.talkbass.com/attachment...2/?temp_hash=f376f4116cd98b3a4e8828b8f10cffa5
Here is another Pop song that uses a major first inversion chord - E/G# as in A - E/G# - D - A...
Snow Patrol - Chasing Cars.
Here is an interesting thing. I was always weary about the bass movement by Augmented Forth (Tritone) - from G# to D, but Snow Patrol had no "problems" with it.
Snow Patrol - Chasing Cars.
Here is an interesting thing. I was always weary about the bass movement by Augmented Forth (Tritone) - from G# to D, but Snow Patrol had no "problems" with it.
I know my postings in this thread have exhausted any patience left in our TB members; therefore, just the last comment about that First inversion major chord.
This morning, I was listening to Mary J. Blinge's "About You".
It has a repetitive chord progression (a simplified version) Cm7 - F/A - Ab - Fm - G7.
P.S. The bass line is, kind of, modernized/computerized full of rhythmic nuances mixed/recorded with lots of various effects.
Here is a slow soundclip of that chord progression.
That F(7)/A chord is around 0:04.
https://www.talkbass.com/attachment...7/?temp_hash=d69545e9bc0db0674371a0b02eeb4509
This morning, I was listening to Mary J. Blinge's "About You".
It has a repetitive chord progression (a simplified version) Cm7 - F/A - Ab - Fm - G7.
P.S. The bass line is, kind of, modernized/computerized full of rhythmic nuances mixed/recorded with lots of various effects.
Here is a slow soundclip of that chord progression.
That F(7)/A chord is around 0:04.
https://www.talkbass.com/attachment...7/?temp_hash=d69545e9bc0db0674371a0b02eeb4509
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