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Chords to At Last - Etta James


moj

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I need to get some feedback on the accuracy of the chord changes on Etta James' version of At Last. This song was written in the 1940's and the available sheet music is from the recorded versions from the 40's - 50's. Unfortunately, I can't find a rendition of Etta James recording. I've transcribed it off her recording and want to be certain I got it right. I'm getting this ready for my next band rehearsal. Thanks-in-advance.

 

At Last

 

Intro || F F#dim | Bb Bdim | F D7 | C#7 C7 ||

 

Verse ||: F Dm | Gm7 C7 | F Dm | Gm7 C7 | F Dm | Gm7 C7 |

1st ending | F Dm | Gm7 C7 :||

2nd ending | F Bb | F___ ||

 

Bridge || Gm7 C7 | Fmaj7,9 Dm | E_F E | Am___ | Dm G7 | C_A7/C# |

| Dm G7 | Gm7 C7 ||

 

Verse || F Dm | Gm7 C7 | F Dm | Gm7 C7 | F Dm | Gm7 C7 - piano arpeggio||

 

Outro || F F#dim | Bb B dim | F D7 | C#7 C7 || pause__

| F Bb | F___||

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mojazz,

 

It's a beautiful song if your singer can put some real heart into it.

 

The only thing I play differently than your chart is the 1st ending on the first verse:

 

I play | F Dm | C#7 C7 || -- just like the second half of the intro/outro.

 

Of course, it's completely possible that I play it wrong. :D

 

--Dave

Make my funk the P-funk.

I wants to get funked up.

 

My Funk/Jam originals project: http://www.thefunkery.com/

 

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If you use Sibelius I can send you a sib file of that tune. I didn't base my changes on the original performance per se, I just try to improve on the stock changes.

 

Send me a PM if you're interested.

No guitarists were harmed during the making of this message.

 

In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments.

 

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I sometimes render the second chord in the verse as major D7 with a flat 9th, which can give it a more "bluesy" feel. Given the original singer, that might be useful.

Studio: Yamaha P515 | Yamaha Tyros 5 | Yamaha HX1 | Moog Sub 37

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I do bars 3and 4 of the intro as:

 

| Fmaj7 D9 | Dbmaj7 C7(#9) ||

 

This also works for the 1st time ending.

 

Then again, I can't recall the last time I listened to the tune. I just embellished on a lead sheet somebody put in front of me once.

Peace,

 

Paul

 

----------------------

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Originally posted by linwood:

Hey Dave, in Sibelius go to the print window, bottom left hand corner - pdf - save as pdf. Everyone can get a pdf.

Not in my 2.1 version. I can save it as an htm though ... using Scorch. After looking at it, the changes are pretty easy to figure out.

No guitarists were harmed during the making of this message.

 

In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments.

 

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.

 Find 600 of my jazz piano arrangements and tutorials for educational purposes at patreon.com/HarryLikas Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book."

 

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Thanks for all the suggestions and corrections. :thu:

 

Replacing the F#dim with the F7/A is a better choice to lead to the Bb. Same can be said of the G7/B instead of the Bdim even though they have common tones.

 

I like the suggestions for "embellishing" the basic triads/dominants which I'll probably end up doing once the band decides on the arrangement.

 

If you use Sibelius I can send you a sib file of that tune. I didn't base my changes on the original performance per se, I just try to improve on the stock changes.

 

Dave, I don't have Sibelius (Finale user), but it sounds like you might use more jazz-style changes. I listened to a sound-clip of The Glenn Miller Band's original recording. What a nice swingin' arangement, so different from Etta James version.
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Dave, I don't have Sibelius (Finale user), but it sounds like you might use more jazz-style changes.
Actually I keep the changes basic and really just write them down for the bass player. The changes that I've seen here are basically what I have.

 

I don't 'notate' anything more than a 9th and most most of the time, just a 7th. The chords are for the bass player and I take all the liberties with the alterations.

No guitarists were harmed during the making of this message.

 

In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments.

 

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This thread caught my eye the other day and raised my eyebrow just a little. My wife happened to have a copy so I checked it against my memory and will now attempt to type it in. I'm afraid I don't know how to underline so I will attempt to block it out four bars to a line.

 

Yikes. Looked horrible so I'm editing it away. See below :D

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I think this will finally be readable :idea:

Intro:

 

{F} {F7/A} {Bb} {Bdim}

{F/C} {D7(b9)} {Db7} {C11}

 

Verse:

 

{F} {D-} {G-} {C+}

{F} {D-} {G-} {C(b9) split C}

{F} {D-} {G-} {C}

{F} {D7(b9)} {Db7} {C11}

 

{F} {D-} {G-} {C}

{F} {D-} {G-} {C(b9) split C7}

{F} {D-} {G-} {C}

{F} {C/Bb7} {Fmaj7} {Fmaj7}

 

 

Bridge:

 

{G-} {C} {Fmaj7} {F}

{E} {F E} {A-} {A-}

{D-} {G7} {C} {C#dim}

{D-7} {G7} {C7} {C7}

 

Last Verse:

 

{F} {D-} {G-} {C}

{F} {D-} {G-} {C(b9) C7}

{F} {D-} {G-(frmt)} {C(frmt)}

 

Outro:

 

{F} {F7} {Bb} {Bdim}

{F} {D7(b9)} {Db7} {C11}

 

{F}

 

 

{} is to seperate bars

all bars with 2 chords are evenly split

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Well, the forum does change the way it looks. :eek: When I type it there is a lot more space between the bars than what shows here, but I think this is the most readable of my attempts. I do think I've got the changes pretty close.
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Hey Steve

Thanks for the chord changes from the Etta James' recording. Does your wife have the sheet music for the Etta James version? I searched throughout the web and only got several different versions. I like the C11 change on the intro - a nice sus setup. I have some questions noted below that need a bit of clarification.

 

mojazz

 

Originally posted by Steve Nathan:

I think this will finally be readable :idea:

Intro:

 

{F} {F7/A} {Bb} {Bdim}

{F/C} {D7(b9)} {Db7} {C11}

 

 

Verse:

 

{F} {D-} {G-} {C+}

{F} {D-} {G-} {C(b9) split C}

{F} {D-} {G-} {C}

{F} {D7(b9)} {Db7} {C11}

 

[QB]

{F} {D-} {G-} {C}

{F} {D-} {G-} {C(b9) split C7}

{F} {D-} {G-} {C}

{F} {C/Bb7} {Fmaj7} {Fmaj7}

:confused: I guess {C(b9) split C} means 2 beats per chord or does "split" means something else?

Does the {C/Bb7} mean to stack a C triad over a Bb7 or play a C triad over a Bb bass?

 

Bridge:

 

{G-} {C} {Fmaj7} {F}

{E} {F E} {A-} {A-}

{D-} {G7} {C} {C#dim}

{D-7} {G7} {C7} {C7}

 

 

[QB]

Last Verse:

 

{F} {D-} {G-} {C}

{F} {D-} {G-} {C(b9) C7}

{F} {D-} {G-(frmt)} {C(frmt)}

:confused: What does (frmt) mean?

 

Outro:

 

 

{F} {F7} {Bb} {Bdim}

{F} {D7(b9)} {Db7} {C11}

 

{F}

 

 

{} is to seperate bars

all bars with 2 chords are evenly split

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No to the sheet music question. She just owns the CD.

 

A split bar (in this case) is just what you thought...2 beats per chord. (The Nashville system assumes that all splits are "even" unless notated above the chords to indicate different values).

 

(frmt) is what we in Nashville call a "Diamond". It means a whole note or formata.

 

C/Bb7 is also what you thought. A C triad over a Bb7. In other words, Bb & Ab in the left hand, and C,E,G in the right. I'm sure someone around here can tell you what the "correct" name is for that chord, but it seems easier to understand the way I've put it.

 

I hope this is helpful. No doubt there are many versions on sheet music with different chords, but this was how I remembered the record, and when I listened a few nights ago, it seemed to match my memory.

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BTW: What you see here looks nothing like a "Nashville" chart. This was just the only way I could get it to come out in a forum post.

(Besides, a Nashville chart would be numbers only) :D

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