Tom Williams Posted October 12, 2016 Share Posted October 12, 2016 G here. That way they reach and sing Hap-py Burr-thday dear who-ziiiiiht, ...with the sforzando and the fermata in the right places. I want them to yell out that "burr". That said, I concur that F or Eb is normally a more comfortable range. Almost related, when I went to Ghana a decade or so ago for a mission trip, a _lot_ of locally-led hymns had scores of untrained melody-only males singing up to G above middle C. Somehow, they all reached the note in a window-shattering chest voice. -Tom Williams {First Name} {at} AirNetworking {dot} com PC4-7, PX-5S, AX-Edge, PC361 Link to comment Share on other sites More sharing options...
Groove58 Posted October 13, 2016 Share Posted October 13, 2016 I've always *played* it in G. Of course, everybody *sings* it in their own key regardless. G// | D// | D// | G// | G7// | C / Am | G Em D | G// | Link to comment Share on other sites More sharing options...
fjzingo Posted October 13, 2016 Share Posted October 13, 2016 Aha, In the key of B. Happy Birthday is usually sung in several keys, simultaneously.. HAH! In the key of H, as a rule, especially when Aunt Velma chimes in. That woman can peel paint from a boat from 15 miles away. People who sing microtonally should be slapped, Charlie Chaplin style. /Fred Cantaloop Soulfetch Soulbox Link to comment Share on other sites More sharing options...
Aspen Posted October 13, 2016 Share Posted October 13, 2016 And then there was the time some drunk offered our band a $100 bill to play it in 5/4 time...so he could sing his own way...I think that was also in F. Hammond A100 w/ 2x Leslie 122, Leslie 145 w/ combo pedal, Casio P5S, SS3, Groove Tubes SFX G5 cab + CPS/QSC RM4500 KB amp, 1955 Steinway 48" studio upright. Link to comment Share on other sites More sharing options...
I-missRichardTee Posted October 13, 2016 Author Share Posted October 13, 2016 ..... Happy ( G7 ) C// G// G// C// C// F(#4)F Fm6 C/G / G7 C// ... Wow, don't think the minor iv chord works, as the melody is on the 6th of the scale, major 3rd of that IV chord. People like to hang on to that note, which is why many of us then put the #iv dim 7 chord there for a little more tension before the final cadence. However niether chord really is correct there, as the next melody note is the 4th step, which doesn't work with the #iv dim. Hmm- I'm gonna leave that IV chord alone. Whether or not to make the IV move to IVm or #IV dim is an age old issue with many songs of the earlier part of 20th century I have dealt with that "decision" ( Do I go Fm or F#dim?) my whole life. Some songs either way works eg "Bewitched Bothered ..." other songs only one is preferable Happy Birthday F# dim is never correct (unless you use Richard Tee's gospel style... which I would seldom do) But Fm6 works perfectly AFTER they lay off the A natural- on the third beat of the bar. it's cadential is all You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
MorayM Posted October 13, 2016 Share Posted October 13, 2016 I've always *played* it in G. Of course, everybody *sings* it in their own key regardless. G// | D// | D// | G// | G7// | C / Am | G Em D | G// | This is more or less the way I play it - in G too - although if I'm playing it at all then it's probably a drinking gig so the ending is often simplified... I like the #iv dim suggestion though, I'm going to start doing that from now on. North Haverbrook - Godsticks - SoundCloud Link to comment Share on other sites More sharing options...
Threadslayer Posted October 13, 2016 Share Posted October 13, 2016 ...with the sforzando and the fermata in the right places. You do and you clean it up. Whenever you find yourself on the side of the majority, it is time to pause and reflect. -Mark Twain Link to comment Share on other sites More sharing options...
Kenny. Posted October 13, 2016 Share Posted October 13, 2016 And then there was the time some drunk offered our band a $100 bill to play it in 5/4 time...so he could sing his own way...I think that was also in F. Link to comment Share on other sites More sharing options...
Mills Dude Posted October 13, 2016 Share Posted October 13, 2016 This is more or less the way I play it - in G too - although if I'm playing it at all then it's probably a drinking gig so the ending is often simplified... I like the #iv dim suggestion though, I'm going to start doing that from now on. The #iv dim gives a little of that gospel flavor. I like this analysis from the late great Richard Tee Mills Dude -- Lefty Hack Link to comment Share on other sites More sharing options...
timwat Posted October 13, 2016 Share Posted October 13, 2016 (Bb7sus).....Ebmaj9..............Fm9 Happy.......Birthday to.......you, ............Bb7sus..........Ebmaj9 Happy Birthday to...you, ...........Eb/Db..............Cm9 Happy Birthday, dear Chickenfoot, ...........Fm9...........Bb7sus (or E7alt).......Ebmaj9 Happy Birthday.....to............................you! .. Link to comment Share on other sites More sharing options...
Synthoid Posted October 13, 2016 Share Posted October 13, 2016 ...with the sforzando and the fermata in the right places. You do and you clean it up. http://www.waycooldogs.com/wp-content/uploads/2015/01/dogs-pooping-blood1.jpg When an eel hits your eye like a big pizza pie, that's a Moray. Link to comment Share on other sites More sharing options...
MorayM Posted October 13, 2016 Share Posted October 13, 2016 This is more or less the way I play it - in G too - although if I'm playing it at all then it's probably a drinking gig so the ending is often simplified... I like the #iv dim suggestion though, I'm going to start doing that from now on. The #iv dim gives a little of that gospel flavor. I like this analysis from the late great Richard Tee Damn, that's so cool! Thanks North Haverbrook - Godsticks - SoundCloud Link to comment Share on other sites More sharing options...
allan_evett Posted October 13, 2016 Share Posted October 13, 2016 (Bb7sus).....Ebmaj9..............Fm9 Happy.......Birthday to.......you, ............Bb7sus..........Ebmaj9 Happy Birthday to...you, ...........Eb/Db..............Cm9 Happy Birthday, dear Chickenfoot, ...........Fm9...........Bb7sus (or E7alt).......Ebmaj9 Happy Birthday.....to............................you! Beautiful, man.... Brings back a memory of the mind blowing version of HB I heard Greg Phillinganes play at NAMM 2011 - at the Kronos introduction. Though instead of eight or nine changes I believe he used about thirty, along with enough passing harmonies to fill the room 'Someday, we'll look back on these days and laugh; likely a maniacal laugh from our padded cells, but a laugh nonetheless' - Mr. Boffo. We need a barfing cat emoticon! Link to comment Share on other sites More sharing options...
MathOfInsects Posted October 13, 2016 Share Posted October 13, 2016 I once mentioned to a fellow musician that I thought it was pretty unusual to have such a strong moment on the Lydian #4 ["...dear THIS note"] in such a commonly sung song. He said (echoing the joke above) "And in so many different keys too!" Now out! "Mind the Gap," a 24-song album of new material. www.joshweinstein.com Link to comment Share on other sites More sharing options...
J. Dan Posted October 13, 2016 Share Posted October 13, 2016 I usually wait for the crowd to sing "happy" and come in with "birthday" in whatever random key the group started singing. It's different every time. Dan Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth. Link to comment Share on other sites More sharing options...
slowtraveler Posted October 13, 2016 Share Posted October 13, 2016 I like this analysis from the late great Richard Tee While checking out this excellent clip, I noticed that the original full-length interview/master class from which it was taken is also currently up on YT, here: https://www.youtube.com/watch?v=Qp9ZHGTljxo Thought I'd mention this because the full show gets taken down periodically and seems to be otherwise unavailable--not that I'd advocate illegally downloading it or anything Link to comment Share on other sites More sharing options...
burningbusch Posted October 13, 2016 Share Posted October 13, 2016 Here's how it's done. [video:youtube] For some reason I always hear it in F as well. Busch. Link to comment Share on other sites More sharing options...
Synthoid Posted October 13, 2016 Share Posted October 13, 2016 A bit cringe-worthy. When an eel hits your eye like a big pizza pie, that's a Moray. Link to comment Share on other sites More sharing options...
I-missRichardTee Posted October 13, 2016 Author Share Posted October 13, 2016 Here's how it's done. [video:youtube] For some reason I always hear it in F as well. Busch. Key of F is fine by me... as some say, it is an easier key for a group. This Busch submission version is flawless. Richard Tee's version where he adds the #IV is only correct within the style he played it in... but the traditional style, which most crowds understand - a simple style - is definitely not #IV dim because on beat three the melody ( in Key of F major ) is a Bb And in key of F.. a B diminished is a no no against the Bb melody. ( And mind you... this is a challenge to all composers.. can you make a melody and chord progression work that contradicts my assertion? It's a challenge for me.) But a Bb min 6 or Bbm fits perfectly under the Bb melody note It boils down to.. the Melody note dictates the chord ( and for contrarians- of course we can write in a way that the harmony leads.. but with a folk song esp, the melody leads the harmony, not the other way ) not the converse - too much attention is on chords or harmony not on the superior melody. Like many aspects of our society.. things are backwards.. inverted values. But I spose I am pissing in the wind here. You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
Synthaholic Posted October 14, 2016 Share Posted October 14, 2016 How many of you end it with "...and many mooooore"? (good if they're really old) The fact there's a Highway To Hell and only a Stairway To Heaven says a lot about anticipated traffic numbers People only say "It's a free country" when they're doing something shitty-Demetri Martin Link to comment Share on other sites More sharing options...
MathOfInsects Posted October 14, 2016 Share Posted October 14, 2016 ...because on beat three the melody ( in Key of F major ) is a Bb And in key of F.. a B diminished is a no no against the Bb melody. (Actually, it's a D--and thus the B dim is just fine.) Now out! "Mind the Gap," a 24-song album of new material. www.joshweinstein.com Link to comment Share on other sites More sharing options...
phattbuzz Posted October 14, 2016 Share Posted October 14, 2016 I find that when a crowd sings it, they usually go to G. Latest Set Up: Kronos 61, Casio Privia, Korg TR61, EoWave Ribbon, TEC Breath Controller, StudioLogic MP-117 Bass Pedals, Moog Theremini. Link to comment Share on other sites More sharing options...
I-missRichardTee Posted October 14, 2016 Author Share Posted October 14, 2016 ...because on beat three the melody ( in Key of F major ) is a Bb And in key of F.. a B diminished is a no no against the Bb melody. (Actually, it's a D--and thus the B dim is just fine.) Hello ! In key of F Happy Day to you is an E Happy Birthday to you is an F Happy Birth is a high C-- day is an A Happy is a few F's Birth is an E Day is a D HAPPY is a 2 Bb's Birth is An A Day is a F To G You F Where do you fit a B dim in this waltz if done in the standard way As Busch example shows??? Bb conflicts with B diminished I have always taken note of this choice one has when they progress to the IV major chord- Does one move to IV minor or #IV dim And the other constant issue I notice is Georgia On My Mind as an example In F major F /// A7/// Dm/ Dm/c / Do you go Bb to Bbm or Bb to B diminished? They work equally well.. I would guess. You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
Synthoid Posted October 14, 2016 Share Posted October 14, 2016 I find that when a crowd sings it, they usually go to G. I always go to the kitchen and see if the cake is ready yet. When an eel hits your eye like a big pizza pie, that's a Moray. Link to comment Share on other sites More sharing options...
MuzikTeechur Posted October 14, 2016 Share Posted October 14, 2016 I usually play it in Bb- low for the women, but generally OK for everyone. Muzikteechur is Lonnie, in Kittery, Maine. HS music teacher: Concert Band, Marching Band, Jazz Band, Chorus, Music Theory, AP Music Theory, History of Rock, Musical Theatre, Piano, Guitar, Drama. Link to comment Share on other sites More sharing options...
MathOfInsects Posted October 14, 2016 Share Posted October 14, 2016 Hello ! In key of F Happy Day to you is an E Happy Birthday to you is an F Happy Birth is a high C-- day is an A Happy is a few F's Birth is an E Day is a D HAPPY is a 2 Bb's. Birth is An A Day is a F To G You F I see where you mean--the pick-up Bb to the next phrase. Yes, it would be a challenge, for sure. In the group context, it would probably work out just fine, but I agree there would be an unnecessary moment of junk in that voicing. Now out! "Mind the Gap," a 24-song album of new material. www.joshweinstein.com Link to comment Share on other sites More sharing options...
MathOfInsects Posted October 14, 2016 Share Posted October 14, 2016 And the other constant issue I notice is Georgia On My Mind as an example In F major F /// A7/// Dm/ Dm/c / Do you go Bb to Bbm or Bb to B diminished? They work equally well.. I would guess. Either, indeed, depending on where I want to start the "Old sweet song" voicing--though I NEVER play the Bbm as a Bbm, always as an Eb9 or the like. The major-minor change is too "announced" to my ear otherwise. Now out! "Mind the Gap," a 24-song album of new material. www.joshweinstein.com Link to comment Share on other sites More sharing options...
I-missRichardTee Posted October 14, 2016 Author Share Posted October 14, 2016 And the other constant issue I notice is Georgia On My Mind as an example In F major F /// A7/// Dm/ Dm/c / Do you go Bb to Bbm or Bb to B diminished? They work equally well.. I would guess. Either, indeed, depending on where I want to start the "Old sweet song" voicing--though I NEVER play the Bbm as a Bbm, always as an Eb9 or the like. The major-minor change is too "announced" to my ear otherwise. Can you amplify a bit, what you mean with "I NEVER play the Bbm as a Bbm, always as an Eb9 or the like. The major-minor change is too "announced" to my ear otherwise." You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
I-missRichardTee Posted October 14, 2016 Author Share Posted October 14, 2016 Hello ! In key of F Happy Day to you is an E Happy Birthday to you is an F Happy Birth is a high C-- day is an A Happy is a few F's Birth is an E Day is a D HAPPY is a 2 Bb's. Birth is An A Day is a F To G You F I see where you mean--the pick-up Bb to the next phrase. Yes, it would be a challenge, for sure. In the group context, it would probably work out just fine, but I agree there would be an unnecessary moment of junk in that voicing. I studied the old rules ( do not ask me what and where - but my teacher was old! ) and as I was listening to him with a combination of awed respect and "gee, why not"... Yaaa... I likely always considered those rules eg resolution of the dissonance one step DOWN, as a challenge. Someday I would find a "solution" to a "music problem" that would go against those hallowed rules. But I never consider those rules useless or worthy of being entirely ignored.. they are a part of me... and maybe a part of many, deep in our subconscious. Believing as CSNY, that we indeed "have all been here before", I believe our musical DNA has these rules baked in us. But I also feel that while paying homage to them, we have a challenge to find ways to break away from a rule. Such as Happy Birthday's ( Key of F ) Bb's on beat three while somehow using the B dim The real Richard Tee ( above video ) sort of does it but not in the way I am thinking. I guess I am thinking well into the future when our ears can readily accept that sound.....a Bb melody against the B dim chord in key of F. Thanks You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
MathOfInsects Posted October 14, 2016 Share Posted October 14, 2016 Can you amplify a bit, what you mean with "I NEVER play the Bbm as a Bbm, always as an Eb9 or the like. The major-minor change is too "announced" to my ear otherwise." It's one of those changes--in that particular spot in the harmony--that make my ear say, "oh, that thing." Not only in the moment, either, but also in the push back down to the I. If I'm thinking that, I'm leaving the song, and if I'm leaving the song as a listener, I'm also leaving it as a player. So for GA, I never just go to the minor, I sub the bVII chord. From that chord, the song *could* be going back to the I, or could be going to the vi, or could be modulating to bIII, or back to IV, or to V, etc. I know it's a minor thing (ha!), but I have a very powerful "oh that thing" reflex, and that particular chord in that particular song has always been a bug of mine. Now out! "Mind the Gap," a 24-song album of new material. www.joshweinstein.com Link to comment Share on other sites More sharing options...
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