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I would call the Ds passing notes. Look at the Ds in the other chords.
I also don't know what that second chord is.
Note I'm not trying to be a pain or saying that you are wrong. I just want to learn.

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The second chord is a C minor with a major 7th (the B). In between a C minor and a C minor 7, it really gives a descending and moody feel to the verse in the progression.
My Funny Valentine, Simple Twist of Fate, For The Roses come to mind as having this kind of descending chord progression where the root note (typically the bass) doesn't change until the third or fourth bar or chord.

Last edited by SaxaBruce; 02/06/24 09:20 PM.

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Thank you guys for the musical theory. Very educational. In my case I like to give the bass that descending and moody feel. Ignoring slash root of slash chords works reasonably good.

Last edited by Jan R; 02/07/24 03:19 AM.

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Originally Posted by SaxaBruce
The second chord is a C minor with a major 7th (the B). In between a C minor and a C minor 7, it really gives a descending and moody feel to the verse in the progression.
My Funny Valentine, Simple Twist of Fate, For The Roses come to mind as having this kind of descending chord progression where the root note (typically the bass) doesn't change until the third or fourth bar or chord.

Yes, that is what I meant in the the chord description that I added, but the chord contains an F, a natural A, and a D, What totally confuses me as you have a C-Eb-F-G-A-B-D. I would think that is either a polychord or a cluster. It's either that or a typo in the notes?

Note that I am a simple guitarist so this makes sense to me:

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Originally Posted by MarioD
Note that I am a simple guitarist so this makes sense to me:

You and me both. But this song was one of my first chord melody arrangements. So even we simple gutarists can dial it up a notch at times. grin

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Originally Posted by DrDan
Originally Posted by MarioD
Note that I am a simple guitarist so this makes sense to me:

You and me both. But this song was one of my first chord melody arrangements. So even we simple gutarists can dial it up a notch at times. grin

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Yes, this I can understand. That second chord in your first example has me confused, but that doesn't take much these days! But instead of beating a dead horse I'll just let it pass and move on.


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Cop, that's not how field sobriety tests work.

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Originally Posted by MarioD
That second chord in your first example has me confused, but that doesn't take much these days! But instead of beating a dead horse I'll just let it pass and move on.

Mario, I didn't want to leave you hanging. I agree with you, the CmM7on the sheet is not correctly named or is not correctly notated. I can't explain why (maybe Noel knows grin). The sheet music I show is sourced from what is considered an "Official"source in MusScore. I show the two different varients below.

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Originally Posted by Jan R
Thank you guys for the musical theory. Very educational. In my case I like to give the bass that descending and moody feel. Ignoring slash root of slash chords works reasonably good.

Jan, thanks for letting us "play" with your thread. I do hope you get the arrangement playing the way you like it in BIAB.

Dan


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What a surprise, one of our own. Check out discussion of first four bars at 3:59.



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Sandra is very talented.

Speaking of 'one of our own', I remember in the very early days of RealTracks discovering that BIAB jazz piano tracks in some styles would just lay out whenever I wrote a mMaj7 chord! This of course was a disaster in Brazilian music. I reported it and they fixed it very quickly with a patch. Turns out those pianists weren't as befuddled as I first thought.


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CmMAJ9 sounds great.
Sandra is one outstanding jazz guitarist isn't she. I know for a fact that my arthritic hands can't play most of those chords!


Me, it's not about how many times you fail, it's about how many times you get back up.
Cop, that's not how field sobriety tests work.

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