Dr88s Posted January 6, 2015 Share Posted January 6, 2015 My wife just asked me to learn a song to accompany her singing. I sat down with the recording and worked out the chords. I was very taken with the progression in the chorus which sounds bold and ballsy yet very pleasing. Since starting to hang out here, I have been trying REALLY REALLY hard to think of progressions as relative rather then absolute chords. (Maybe one day I can finally stop reaching for that transpose button) The chorus works out to I VII iii VI. I realize that most western music rehashes the same set of progressions over and over again, but I don't recall hearing this pattern offhand (and even after some thought, and even after a Google search). Is this a common pattern? Can anyone think of other songs that use it? Nord Stage 2 Compact, Yamaha MODX8 Link to comment Share on other sites More sharing options...
Jazz+ Posted January 6, 2015 Share Posted January 6, 2015 No 7ths??? What are the chord symbols? Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Dr88s Posted January 6, 2015 Author Share Posted January 6, 2015 G major , F# major , B minor, E major. I had never heard the song before- Stop by Sam Brown. Nord Stage 2 Compact, Yamaha MODX8 Link to comment Share on other sites More sharing options...
zephonic Posted January 6, 2015 Share Posted January 6, 2015 G major , F# major , B minor, E major. I had never heard the song before- Stop by Sam Brown. To my ears, that song is in B minor. With the relative major key being D, that would make this specific progression IV maj, III7, VI min, II7. My first thought upon seeing I-VII-III-VI was a Latin kind of sound, like C7-Bb7-E halfdim-A7 or something... local: Korg Nautilus 61 AT | Yamaha MODX8 away: GigPerformer | 16" MBP M1 Max home: Kawai RX-2 | Korg D1 | Roland Fantom X7 Link to comment Share on other sites More sharing options...
Paul Harrison Posted January 6, 2015 Share Posted January 6, 2015 The song is in Bm, and the chorus starts G F# Bm E = VI V i IV (1:17 in the video ... nice Hammond solo by Bob Andrews at 3:00 too). [video:youtube]https://www.youtube.com/watch?v=v4yOa3tBrB8 Link to comment Share on other sites More sharing options...
marino Posted January 6, 2015 Share Posted January 6, 2015 It's much easier to understand if you think of the F# (and perhaps the E) not as simple majors, but as dominant chord(s). The F# tends to the Bm, so you can use the 5th mode of B harmonic minor to enrich it. Also, this establish the modulation not from G to F#, but from G major to B minor - much closer, just one step on the circle of fifths. To analise the E chord, we would need to know what follows it. Link to comment Share on other sites More sharing options...
Paul Harrison Posted January 6, 2015 Share Posted January 6, 2015 The chorus goes basically like this. G F# Bm E G F# Bm E G A Bm F#m,A Bm Link to comment Share on other sites More sharing options...
bluzeyone Posted January 6, 2015 Share Posted January 6, 2015 Can see why it intrigued you. Definetly an uncommon path. I like those. "A good mix is subjective to one's cilia." http://hitnmiss.yolasite.com Link to comment Share on other sites More sharing options...
MorayM Posted January 6, 2015 Share Posted January 6, 2015 Very cool, I might have to steal it next time I do a duo gig (with the organ solo ) I've only heard Bonamassa doing this song, didn't realise it was hers originally. Cephid - Progressive Electro Rock Link to comment Share on other sites More sharing options...
Paul Harrison Posted January 6, 2015 Share Posted January 6, 2015 Here's a rough recording (raw PA mix) of the first time we tried it at a rehearsal with our soul/jazz/chill band = vocal, guitar, keys (Hammond XK1c + Ventilator, Kurzweil SP4-7), drums. Stop Link to comment Share on other sites More sharing options...
Dave E Posted January 6, 2015 Share Posted January 6, 2015 Same basic changes as "What You Won't Do For Love" Link to comment Share on other sites More sharing options...
Tusker Posted January 6, 2015 Share Posted January 6, 2015 That's a beautiful song. To my ears, that song is in B minor. ^What he said^ The chorus begins with a deceptive cadence ... referenced humorously in Benjamin Zander's brilliant Ted Talk: http://htmlgiant.com/craft-notes/the-deceptive-cadence/ Deceptive cadence gets a mention at 10.35 in the video below. "I tell my students, if you have a deceptive cadence, be sure to raise your eyebrows, then everybody will know." [video:youtube]r9LCwI5iErE Link to comment Share on other sites More sharing options...
MoodyBluesKeys Posted January 6, 2015 Share Posted January 6, 2015 Thanks for posting that - his attitude opens SO many possibilities. Howard Grand|Hamm SK1-73|Kurz PC2|PC2X|PC3|PC3X|PC361; QSC K10's HP DAW|Epi Les Paul & LP 5-str bass|iPad mini2 "Now faith is the substance of things hoped for, the evidence of things not seen." Jim Link to comment Share on other sites More sharing options...
bluzeyone Posted January 6, 2015 Share Posted January 6, 2015 That's a beautiful song. To my ears, that song is in B minor. ^What he said^ The chorus begins with a deceptive cadence ... referenced humorously in Benjamin Zander's brilliant Ted Talk: I http://htmlgiant.com/craft-notes/the-deceptive-cadence/ Deceptive cadence gets a mention at 10.35 in the video below. "I tell my students, if you have a deceptive cadence, be sure to raise your eyebrows, then everybody will know." [video:youtube]r9LCwI5iErE Love it! Don't go home. Go "minor". "A good mix is subjective to one's cilia." http://hitnmiss.yolasite.com Link to comment Share on other sites More sharing options...
Theo Verelst Posted January 6, 2015 Share Posted January 6, 2015 I've not played the song in a band, but at the time, I think around the same time as "Still got the Blues", I might have played it a bit. To me it sounds like Bminor, Gb_minor, and most of the time a Eminor(7)add9, with more or less standard variation like a 2minor (C# minor) and a possible sus chord here and there, and for extending into harder and interesting territory, organ players will recognize all kinds of "full out" filling possibilities like D major, G major_major-7th, chromatic descends with major chords all over the place, and the organ solo suggests (and maybe has mixed in) those ideas. Remember, this song is song with classical skills of the singer, and in fact your version has the singer sound a bit low, which requires Sam to as it were take the proper classical scales, which have the proper feel of the song in them, and stretch them out and fit them to the always the same organ (almost equal temperament) tunings, which creates interesting harmonic build up and tension. Band is sound is cool, I can't help it I search for the complexities of the original A grade productions, I love them. actually I found the CD sound somehow better than the youtube, but hey it's free and ok.. T. Link to comment Share on other sites More sharing options...
Jazz+ Posted January 6, 2015 Share Posted January 6, 2015 I have played this progression thousands of times: ||: G7 F#7(#9,b13) | B-7 E7 :|| It's a super common jazzy B-7 jam vamp ("Grover Washington jazz style" chord progression) It is the ubiquitous: bVI7 V7(#9 b13) i-7 IV7 Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Philip Clark Posted January 6, 2015 Share Posted January 6, 2015 Duplicate post. Sorry. I loved that record. I was just wondering the other day what happened to her. Soul, R&B, Pop from Los Angeles http://philipclark.com Cannonball Gerald Albright Signature Alto, Yamaha YC73, Fender Rhodes, Roland Juno-106, Yamaha MX61, Roland VR-09, MicroKorg XL, Maschine Mikro, Yamaha Reface CP, Roland MKS-50 Link to comment Share on other sites More sharing options...
GovernorSilver Posted January 6, 2015 Share Posted January 6, 2015 Thanks, Tusker! Great TED presentation by Zander and I've always loved that Bobby Caldwell classic. Link to comment Share on other sites More sharing options...
bluzeyone Posted January 6, 2015 Share Posted January 6, 2015 Jazz+, Mr. Ferris, Tusker, just to name a few, you cats really got it together! Helped me so much through the years. B.t.w. Jazz+, still working through them fourths. "A good mix is subjective to one's cilia." http://hitnmiss.yolasite.com Link to comment Share on other sites More sharing options...
Dr88s Posted January 6, 2015 Author Share Posted January 6, 2015 Wow! Thanks for all the responses. Much to address: To my ears, that song is in B minor. With the relative major key being D, that would make this specific progression IV maj, III7, VI min, II7. Indeed. The four chords alone, though, sound fine by themselves, even out of the context of the song - so to keep things simpler I wrote it out with the first chord representing the I, though it's clearly not. Mea culpa. It's much easier to understand if you think of the F# (and perhaps the E) not as simple majors, but as dominant chord(s). The F# tends to the Bm, so you can use the 5th mode of B harmonic minor to enrich it. Also, this establish the modulation not from G to F#, but from G major to B minor - much closer, just one step on the circle of fifths. To analise the E chord, we would need to know what follows it. Marino, I will have to purge my brain of all extraneous thoughts and sit down at the piano later to fully understand what you are getting at. I'm still shaky with modes. All those years of strictly classical training from sheet music without any thought as to why it 'works'. Thanks. Can see why it intrigued you. Definetly an uncommon path. I like those. It really struck me when I played just the chords without all the backing orchestration. Different. Bold. Here's a rough recording (raw PA mix) of the first time we tried it at a rehearsal with our soul/jazz/chill band = vocal, guitar, keys (Hammond XK1c + Ventilator, Kurzweil SP4-7) Thanks for this. It's always nice to hear a bit of a broken down version without all of the production. She herself has played solo versions on live TV - just her and the piano. Same basic changes as "What You Won't Do For Love" Not familiar with that tune. Next on the playlist. Band is sound is cool, I can't help it I search for the complexities of the original A grade productions, I love them. actually I found the CD sound somehow better than the youtube, but hey it's free and ok. On the other hand, less is sometimes good too! Deceptive cadence gets a mention at 10.35 in the video below. "I tell my students, if you have a deceptive cadence, be sure to raise your eyebrows, then everybody will know." Great clip. Such a wonderful speaker. I have played this progression thousands of times: ||: G7 F#7(#9,b13) | B-7 E7 :|| It's a super common jazzy B-7 jam vamp ("Grover Washington jazz style" chord progression) It is the ubiquitous: bVI7 V7(#9 b13) i-7 IV7 I've never played jazz. Straight from 20 years of classical to rock n' roll cover bands. Can you suggest tunes to listen to to hear this progression at play? Thanks to all those who replied, as always. Nord Stage 2 Compact, Yamaha MODX8 Link to comment Share on other sites More sharing options...
bluzeyone Posted January 6, 2015 Share Posted January 6, 2015 Jazz+, I see what your talking about I think. Are you talking a common vamp if the tune was in "A"? Like a turnaround? "A good mix is subjective to one's cilia." http://hitnmiss.yolasite.com Link to comment Share on other sites More sharing options...
Jazz+ Posted January 7, 2015 Share Posted January 7, 2015 _ Here's a less common vamp that sounds great. Let's see how you all analyze this one: Key signature = no flats or sharps ||: C | G- | F | F- :|| C fine Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Jazz+ Posted January 7, 2015 Share Posted January 7, 2015 Wow! Thanks for all the responses. Much to address: I have played this progression thousands of times: ||: G7 F#7(#9,b13) | B-7 E7 :|| It's a super common jazzy B-7 jam vamp ("Grover Washington jazz style" chord progression) It is the ubiquitous: bVI7 V7(#9 b13) i-7 IV7 I've never played jazz. Straight from 20 years of classical to rock n' roll cover bands. Can you suggest tunes to listen to to hear this progression at play? Thanks to all those who replied, as always. It's a really big R&B "Earth Wind and Fire" type of groove progression: ||: Dmaj7 C#7#9|F#-7 B7 :|| "What You Won't Do For Love" Bobby Caldwell It is a cover band classic! [video:youtube]https://www.youtube.com/watch?v=hA2M8-csDDg Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
MonksDream Posted January 7, 2015 Share Posted January 7, 2015 _ Here's a less common vamp that sounds great. Let's see how you all analyze this one: Key signature = no flats or sharps ||: C | G- | F | F- :|| C fine It's in C major. The I-IV-IVm is one of the world's most common cadences. The G- functions as an incomplete C9 chord. So: ||: I | I7 (V of IV) | IV | IVm :|| What do I win?? Instrumentation is meaningless - a song either stands on its own merit, or it requires bells and whistles to cover its lack of adequacy, much less quality. - kanker Link to comment Share on other sites More sharing options...
Jazz+ Posted January 7, 2015 Share Posted January 7, 2015 Perfect analysis, good job. Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Recommended Posts
Archived
This topic is now archived and is closed to further replies.