yes, thousands of gospel and classical music also utilize the first inv voicing, but probably best for OPs question to compare "apples to apples" by sticking to Minor key examples instead of mixing in Major Key examples (i.e. Sheeran, Snow Patrol).
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Why does this bass line work?: Under the Milky Way
- Thread starter Spectrum
- Start date
You right.
Now I need to post another example instead of that Snow Patrol or Sheeran.
I have a good candidate for it.
It's "In a sentimental mood" by Duke Ellington.
Cover by Billy Joel.
We have that "CLICHE CHORD progression" in Verse:
Amin - Amin(maj7) - Amin7 - D9/F# - (it's for Snow Patrol) and next line
Dmin - Dmin(maj7) - Dmin7 - G9/F# - (it's for Sheeran
)Here is a slow version of that chord cliche progression.
There are quite a few "cliche" chord progressions.
I hope some of the examples in this thread helped you to better understand and use that major 1st inversion.
About that "cliche" chord progression.
Here is how Coldplay decided to deal with it in the bass.
In the song, Sparks, there is a part where we have the following progression Bmin7 - Bmin(maj7) - Bmin7 - Dbmaj7, but...
The bass, instead of descending, is ascending and we have the following:
Bmin7 - Bmin(maj7)/C - Bmin7/Db - Dbmaj7/Eb (as Db9) - Gmin7b5/Bb
That chord progression is around 1:14
And here is a slower clip of that progression.
https://www.talkbass.com/attachment...6/?temp_hash=6300ebdb11927d7894a5c467482972d3
Here is how Coldplay decided to deal with it in the bass.
In the song, Sparks, there is a part where we have the following progression Bmin7 - Bmin(maj7) - Bmin7 - Dbmaj7, but...
The bass, instead of descending, is ascending and we have the following:
Bmin7 - Bmin(maj7)/C - Bmin7/Db - Dbmaj7/Eb (as Db9) - Gmin7b5/Bb
That chord progression is around 1:14
And here is a slower clip of that progression.
https://www.talkbass.com/attachment...6/?temp_hash=6300ebdb11927d7894a5c467482972d3
I have already expressed my "speculations" only about the composing procedure of that song in a previous post.
I have some rhythmic motive/ phrase of the following notes - part of my melody-
- A B C D C D E C D.
I would start with my tonic - Amin.
For my D note in the melody I could try to use D or D7, like Amin - D7 - Amin and Emin or G (for the sake of harmonic rhythm, or just because...).
A la Dorian...
But it’s kind of very simple for my own song.
Also, I could substitute that D7 with Dmin7, but harmonically some tensions are lost, not too much punch/push on the harmony side.
Next, I could substitute that D chord with G as in Amin - G - F - G (or Emin), but that chord progression is so trivial.
What if I sub that D chord with Bmin and Dmin7b5/Ab?
Maybe, too jazzy?
I realize this thread is now over two years old but I come back to it from time to time to refresh my memory and get ideas. I learned a lot from you guys, if anyone's still sub'd to it, so thanks.
Cool find. I got to see them live a few months ago when they toured in my area. When they played that song they didn't bother with the faux bagpipe sound and went for a straight electric guitar sound. Steve Kilby looks so young in that video.
