Jump to content
Gibson Brands Forums

Anthony Buckeridge

Members
  • Posts

    76
  • Joined

  • Last visited

Reputation

0 Neutral

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Awesome post in the Brexit 2 thread!

  2. Quote: "Death by Theory". I prefer the Neil's Simons Movie - Murder by Death featuring Alec Guinness. But seriously wonder, since so many here, are so utterly enamoured, of their sense of humour. Why the Massive Ironical Humour, of their own weakly stated position, has not even occurred to them at all? I must confess that hereabouts, the fun, this so far entirely un-noted, self inflicted pun has generated, makes the Thread a Classic. For. The Question. That is the Threads Theme. Can ONLY be Authoritatively Answered. With a Knowledge of the Rudiments of Musical Theory. Be Honest about that Fact! Not by Guesswork, not by Feelings, nor the Assertion of Image over Fact. We all know that Popular Musical Culture has very little to do with Music at all, in Reality. But is in Truth, the Triumph of the Promotion of Image, and individuals being Duped by and Buying Into It. But Clearly, anyone Genuinely Interested in Music, will actually want The Truth! Undoubtedly, a Low Self Esteem and a Deep Seated Inferiority Complex are Motivational Drivers for "Image Seeking" individuals. Part of the Package they have (sadly) Bought Into, is Adopting a Borrowed Self Image, one of Dissent, Defiance, Insubordination, Unconformity and Rebellion. Yet the Unequivocally, Incontrovertible, Absolutely Unassailable Values, that do Provide Sound Knowledge and that can Provide Genuine Answers, to Real Questions, both of Music and Life. Are Openly Rejected by Such Folks. And the Really Sad Part about these Dear People. Is that because of this Fact, the Truth is. A Joke Completely of their Own Making. Is Made Entirely at their Very Own Expense, but they can Neither See It or Properly Understand It, At All. Because. The One Question. That is the Threads Theme. Can ONLY be Authoritatively Answered. With a Knowledge of the Rudiments of Musical Theory. That is the Irony of this Thread. And the Source of its Most Enduring Humour. But seems so Expensive, in Terms of Tragic, Human Cost. To me, it seems far worse than when my friend Bob, mentioned earlier. Was approached by Brian Epstein and offered the Job of Drummer to "The Beatles". And turned him down, because "The Beatles" were unheard of and he was making More Money. Recording Sessions, for Everybody Else. http://www.mikedolbear.com/story.asp?StoryID=1604 Two of the Qualities that Producers like Les Reed and Tony Hatch. Liked about Bob was that he was "Not Prone to Error", and "Could Play at Any Weight". Another Fact of the Ironical Humour of this Thread. Is that those who Choose to Ignore the Benefit of Musical Theory. Are Indeed "Prone to Error", and Clearly, are "Unable to Play at Any Weight". http://www.retrosellers.com/features138.htm http://www.retrosellers.com/features152.htm Thanks for Providing Such a Wealth of Thought Provoking Material!
  3. Quote: "not all girls are called Angie." - Snipped for Shortness - Quote: "I was well into page two before I got that it was about Angie and not Anji." - Snipped for Shortness - Quote: "I suspect more people have heard Jansch's and Paul Simon's versions more than the original. So much for the composer's intentions." According to Tommy Emmanuel, a Gentleman I have tremendous respect for and a Great Guitarist to boot, says that he's always very pleased when people want to Learn to Play Songs he's Written and as a Composer, he's very happy about that. But he makes a powerfully pertinent point about the difference between Artists and the Music Written by Composers. Stating that although people are Strongly Inspired by an Artist, most often it's not actually the Artist that is the Real Inspiration to them, but in reality, the Sound and Quality of the Composers Music that is the Truly Inspiring Factor, and that's what really makes people Want to Learn to Play. Tommy Emmanuel - Angelina My view is that when the Sound, Quality and Vision of the Artist's Performance matches the Sound, Quality and Vision of the Composers Music, then you have something Really Exceptional. Tommy Emmanuel - Somewhere Over The Rainbow
  4. Quote: "Oftentimes, the joy is in the mystery, the not-knowing, the grey area." Your interesting post, particularly focuses on Lyrics. Someone in a previous post mentioned a Documentary Film made about the "The Beatles" A while back, such a Documentary Film was made strongly featuring input from a dear, very admired friend of mine, and another expert from hereabouts. Usually, but not always, there are huge unconscious areas of influence, that seeming, entirely Authentic and Original Artists, have clearly been influenced by, throughout a lifetime of Osmosis. These are easily understood and revealed by Expert Insight. The gradual, unconscious, collecting and absorbing process whereby ideas, knowledge, and various forms of expression are gathered over time, only to be subsequently filtered through a further Creative Spark and Following Process, to Eventually be Produced, into what appears to be an entirely Unique Work is a Fascinating Area for Contemplation. This to many, Mysterious Process, happens not only with Lyrics. But also with Musical Motifs, Phrases, Form and Structural Notation. Indeed, parts of some of "The Beatles" Most Admired Songs can be directed traced back to their first original use in Ancient Hymn Writing, all "The Beatles" will have been Strongly Exposed to as Children, Growing Up. The Documentary my friend was involved in exposed these processes in compelling detail. Yet such connections, are never obvious to The Composer, or they would in most cases avoid them entirely because of their innate integrity, (although some borrow inspiration knowingly) and set in such an entirely different context, neither are these influences clear to the keen Listener, only to what are usually Professors of the History of English Literature or the History of Music. George Martins score for The Beatles ' "All You Need is Love" (1967) contained melodies from several songs thought to be Public Domain including "In The Mood," written by Joe Garland and Andy Razaf. While the song was in the public domain, the Glenn Miller arrangement used was not and EMI made a royalty payment to KPM Publishing in July 1967. The thing to understand here is that a Distinctive Musical Arrangement can be Copyrighted, just as a Lyric or Melody can be. John Lennon's use of a line from Chuck Berry's You Can't Catch Me ("Here come up flat top /He was movin' up with me") the 1969 Beatles' song "Come Together " ("Here comes ol' flat-top / He come groovin' up slowly") led to a lawsuit from Berry's publisher, Big Seven Music Corp. In 1973, a settlement was reached whereby Lennon agreed to record three of Big Seven's songs on his next album. Big Seven Music Corp. again sued Lennon for breach of contract, when his 1974 album, Wall and Bridges, failed to contain all three of the songs, with the court awarding the company US $6,795. George Harrison was successfully sued in a prolonged suit that began in 1971 for plagiarizing The Chiffons "He So Fine" (1963) for the melody of his own "My Sweet Lord " (1970). In the ruling, the judge stated that he believed Harrison had not intentionally copied the song, but more than likely experienced an episode of Cryptomnesia. In point of fact, Cryptomnesia can be attributed to most of the instances occurring with Artists of the Greatest Integrity. And is understood perhaps, better by my earlier description of the slow work of Internally Absorbed Forces, that eventually Spill Out in what appears to be Entirely Original Work. It's a Personal Viewpoint, but I see such Artists in a rather different light to those that Deliberately and Consciously Crib, Small Sections and Elements of Another Artists Work, turning a Blind Eye and Hoping that none will notice, or Changing the Structural Context of the Accompaniment so as to Deliberately Disguise the Fact. However, the Most Interesting Point that your insightful post prompted to my mind was the following. When Lyrics or a Musical Setting features an element of Mystery, is Ambiguous or its Meaning or Context is Deliberately Obfuscated in Some Way. Its provides the Listener with what I regard to be A Powerful Difference between a Book and a Film. It allows the Listener to Employ that Most Scintillating of all Creative Powers, their Own Imagination. Once a Listener can Deploy the Power of their Own Imagination and apply it to the Lyrics or Music, they can Ascribe their Own Interpretation of Meaning, Release the Emotions of their Own Inner Life Experiences; and in a very Unique Way, even a Work that Appears to have No Genuine Meaning of Personal Significance to a Lyricist or Composer, can suddenly enact a Dynamically Powerful Impression upon their Audience. In Fact, the Work becomes of almost Unique, Deeply Personal Significance to Them. Therein Lies the Secret of its Power! More Fine Drumming Hits from my friend Bob! https://www.youtube.com/watch?v=z0Ib501CEjU
  5. Quote: "I respectfully disagree, sir." I'm fine with that. There's nothing wrong with disagreeing. The thing is to be able to disagree, without becoming disagreeable. To be honest, reading through your post, I was unable to detect, where we significantly disagreed. You appeared to writing sentiments very much along a similar view, but using alternative descriptions, to express, fundamentally similar thoughts. But you have made some points worth further exploration, points that prompt one to think seriously and that are worth deeper examination, so I thank you for your intelligently positive contribution to the discussion. Quote: "You are right, in that translating what is intended from music IS a skill, but when it comes to Jazz and Blues, what is of greater importance is what the musician feels and chooses to play. In other words, NOT what the composer feels or felt." Not to the Composer! Do they deserve to have a say? I do very much indeed believe they do. More to the point, is the fact that, so do they. Furthermore, if you think that the Greatest Jazz Players. Have not Empathetically Felt the Composers Happiness or Pain. And do not therefore Fully Comprehend the Inward Emotions of the Writer. Then with complete and utter respect to you, I do think that viewpoint, is completely mistaken. But that is but the beginning of the issues that I find prompted from the particular line of thought expressed above. The thing is. What makes Brilliant Lyrics. And the most Powerfully Memorable Music. Is when Every Single Superfluous Word and Note is Avoided. In other words, the Time and Space Around and Between the Words and Notes. Give Form, Shape, Character, Scansion of Melodic Line and Time for Emotional Meaning to be Absorbed. Most often, when you are explaining something important to someone, you need to give them a proper opportunity, to let the information fully sink in, and you can observe this happening as their face literally lights up with a newly enlightened understanding. You could keep pounding them with further information, when they clearly haven't as yet, properly absorbed the relatively small amount of information that has been shared thus far. However, that is usually completely counterproductive, as people can usually only process a certain amount of information, in any given space of time. Furthermore, I can think of instances when I have had to Orchestrate Music that Dynamically Builds and Builds until you reach the Point of Climax and seemingly has nowhere further to go. In such cases, I have found that Suddenly Introducing Silence and Space. Contra-Punctuating Powerful Loudness, with Silence then Sudden and Unexpected Dynamic Pulses, Actually Heightens Tension and the Emotional Impact of the Music. At a more rudimentary level, it's simply the most difficult lesson of all for many Musical Enthusiasts. The fact that What you Deliberately Leave Out is just as Important as What You Deliberately Play. In other words The Time and Space Around and Between the Notes, is Vitally Important, at least as Important as the Notes Themselves; furthermore the Space gives a Greater, More Powerful Impact, to the Notes you Do Play, leaving a Deeper, More Memorable Impression on the Listener. On a Scientific Level, it has been discovered that apart from a Small Number of Highly Trained, Listening Ears, the Average Musical Listeners Brain is Incapable of Absorbing and Deciphering more than Three Different Melodic Lines, Playing Simultaneously within any Given Composition. At times the Brain shuts off information from the senses, to enable it to Properly Focus its Concentration on what it deems Most Important. What this means to a Musician dealing with traditional fare is that if you have too much going on, all at once, most people will find that a definite turn off, and won't be able to identify with, relate to, enjoy or purchase that Music. I have worked a fair amount in Studios with Session Players. The thing about them is that they are a Songwriters Dream Team. They are Creative and have the in Vogue Sound and Playing Techniques. And give New Music the Ideal Balance of Creativity and Appropriate Support. In others words, they Contribute What is Needful, but don't do too much or too little. That in itself, is a Great and Rare Gift. And why for the most part Budding Musicians were Replaced on Recording Sessions with Hit Making Studio Session Players. Earlier I mentioned Bob Graham who worked with Li'l Jimmy Page, Big Jim Sullivan and others on Recording Sessions, most days, for years. Shel Talmy, Legendary American Producer of The Kinks, David Bowie, The Who said of him "For me Bobby Graham was the Greatest Drummer the UK has ever produced." He had 13 No 1 Hits, 10 No 2 Hits, 4 No 3 Hits, 6 No 4 Hits, 7 No 5 Hits, 107 Top 50 Hits and 1155 Days in the Charts, and that was when you had to Sell a Massive Amount of Records to even get in the Charts in the First Place. Usually they got "The Take" within "Two or Three Takes", though I can definitely think of some Successful Recordings where the All the Tracks were laid with the "First Take". It's all about being Not Prone to Error, Highly Creative, Musically Intuitive, able to Understand and Interpret a Composers Intentions, almost by Sheer Instinct. Few Musicians are Gifted that way. Li'l Jim was very much like that and Played on all kinds of Artists Recordings as far away from Led Zepplin as one could imagine. But's here's the catch in all this that I have been gradually building to all along. Bob was a Self Described as a Complete Jazz Snob, he Played Ronnie Scotts etc. And even took over leadership of John Barry's Band for a while after John got started Scoring for Films with the James Bond Film Dr. No. So Bob Played Drums on The James Bond Theme. Yep, you've been Listening to Him All Your Life. I Studied Bass with Carole Kaye to be able to Score better, more Compelling Bass Parts, she was another one, a Great Jazz Player, most Top 60's American Session Players were in point of fact, yet she was able to Constrain (to a large degree) all her Natural Tendencies and Give the Music, exactly what was Needful, No Less, No More. I understand the point above you are making. But the Biggest Problem is that your argument is easily broken down by the following fact. Although there have been a long succession of Fast Playing, Hot Jazz Musicians of every description over the Years. Arguably the Most Signification of them all, Most Successful, Best Selling and Most Widely Known by the Public at Large, is the Incredible Miles Davis. He was Best Known for his Hallmark Muted Trumpet, imprinted in Spaciously Sparse Soundscapes, and this Created a Whole, Brand New Genre of Modern Jazz known as "Cool Jazz". For sure he could have Played Whatever he Wanted, but his Music goes far beyond any Self Indulgent, Improvised Display of Virtuoso Extemporization, and What He Left Out what was What Made His Sound Unique. In Point of Fact, if you were to Study the Original Musical Compositions and Musical Arrangements of Many Composers Works and directly compare the Written Notation to Miles Davis's Arrangements, often Highly Complex Bridges were Stripped Down to the Bare Essentials, and THAT was what made Mile's Music, Powerfully Compelling to Listen To, for the Person in the Street. I remember sitting in an Amsterdam Hotel with Bob and a Bunch of Other Younger Musicians who happened to be discussing the Latest "Happening" Group who Played Highly Complex Music Indeed. Bob asked the Musicians "Do you understand WHY you like this Group so much?" He went on, "The real reason you like them so much is because as a Musicians you understand How Difficult it is to Play like that from a Technical Perspective, so as Musicians you Appreciate it." "But Ordinary People that you find in the Street, Do Not Relate to Music in That Way. Normal People, the type of people that Buy Most Records, do so because they Connect to the Music Emotionally. They Can Relate to the Music, because it Moves Their Emotions." I have to tell you that is was a Most Salutatory Lesson, and certainly had me Listening Hard and I have never Forgotten It. Let me finish by telling you about a Recording Mix made by an Old Pal. The Music was to be Featured in a Film and the Film Company wanted a Full Orchestral Score for this Climax Moment in the Movie. However my Pal Mixed what was in comparison to what the Film Company wanted a Very Sparse Mix Indeed. The Film Company hated it, but Kevin Costner and Whitney Houston who Starred in the Film heard it and Loved it. Clive Davis who was heading up the Sony Record Division walked around all summer with it in his Pocket not knowing quite what to do, whatever he did was going to upset some Important and Influential Folk. In the end he okayed the release and it became the 25th best Selling Record in All Recording History. Why? Because the Mix Emphasized. The Sheer Power and Emotion of The Singers Delivery. There was Nothing to Distract Attention away from the Drama of that Climax. And The Star Quality of The Singers Voice, Shined all The Brighter, for The Darkness Surrounding It! Decades ago, I worked on a Musical Project involving Legendary American Artist "Johnny Cash". He Completely Understood this Whole Concept, Completely Intuitively. His Voice and the Reality of the Songs Message was what made his Recordings So Compellingly Authentic. This is absolutely true. At one point he became concerned that the Guitarist in his Backing Group, "The Tennessee Three" was becoming too good, and might distract attention from the Powerful Message of his Songs, so he actually hid the Guitarist's Guitar away, quite deliberately, so he was Completely Unable to Practice. What you Leave Out, is as Important, as What you Play. Eric Clapton can play Mind Blowing Licks all day long, but rarely does so. It's not about "How Fast you Play" or "How Many Notes you can Cram into a Solo" so what's it about? It about Expressing the Emotion that Motivated the Composer. Emotionally and Creatively they are on the Same Page. The picture below is of my friend Bob with Film Composer John Barry. Emotionally, Creatively, Physically, in the Photograph, and in this Fora Thread, they are absolutely on the Same Page.
  6. Quote: "I'm still going with C. That's what my book shows." Think about Time Signatures for a Moment. A designation of Common Time "C" usually means 4/4 Time. But you could use Common Time, but place the eight notes in Triplets. Then Music in Common Time usually interpreted as 4/4 would have a 12/8 Feel. To make things even more complicated, or simpler if you are me, a Conductor will Trace. 4 Beats with his Baton, even though there are Twelve Notes to the Bar, essential to the Rhythm. This makes the Conducting Clearer to the Musicians with a Strong Clear Beat, even though the "Feel" is more Rhythmically Complex. The Music could be written in 12/8 time, but does not have to be, indeed there may well be mitigating reasons for that. Or you could have Common Time, but with a Dotted Note "Shuffle Feel". You could even Play Straight Eighths, within a Context of 4 Beats to a Bar, as most people probably would with Music written in Common Time. So something seemingly very Simple and Clear, can be used in a Variety of Differing Ways. Why is this important? Because Musicianship involves the Ability to Effectively Interpret Written Notation. Or for those that cannot Read Music, the Creative Ability to Effectively Translate, Interpret and Convey a Composers Inward Feelings, Expressing them Outwardly in a Musical Form. In both instances, the Comprehension of the Composers Creative Intentions and the Ability to Interpret and Convey the Emotion of his or her Writing to the Audience, are Absolutely Paramount and Essential Ingredients of the Craft. Simply looking at what is shown is not enough. Properly Understanding what was intended, is really much of what Musicianship is about. The Ability to Effectively Accomplish that Translation, in a Dynamic Manner that Powerfully Conveys Deeply Emotional Meaning, is Where True Greatness is to be Found. Understanding How The Composer Felt, what he or her Meant, and Compellingly Interpreting That so an Audience Strongly Identifies with that Expression of Feeling is what it means to be a Real Musician. Instead of Wondering what Key Signature the Music is in. (It is in A Minor). Concentrate on what the Words and Music are all about, think about and Try to Feel Deeply what the Composer Felt and Focus on Conveying That Feeling, in a Powerful Manner to the Audience they Positively Respond To. This will take you a Long Way Towards. Where you Should Want To Be.
  7. Quote: " I wish I knew 1/10th of this theory." Excellent. It's good to deepen understanding. When there are NO Sharps or Flats in the Notations Key Signature. The Actual Home Key Signature could be C Major or A Minor, so how do we know which it is? Well usually because of the Spiritual Mood of the Sound, does it Sound Positive and Happy or Sad and Deeply Serious? This is simplest and usually the Best Way to Decide. Sometimes things can appear to be more complex than they really are because of the manner in which the Music Progresses, though sometimes they are more complex, but definitely, people do over think these things at times. This is where having some Training in Theory does make a difference. But generalising a simple way to understand what is written above, is ask yourself this. When you play G7. After a while, do you find that eventually you feel like you want to Play a Chord of C Major next? If so , the Dominant 7th Chord is G7 and the Key Signature is C Major. Again, generalising a simple way to understand what is further written above, ask yourself this. When you play E7 (and there are no Sharps or Flats involved in the Key Signature), and for instance you are not playing Chords like A Major or other closely related Chords to A Major. After a while, Playing E7 do you find that eventually you feel like you want to Play a Chord of A Minor next? If so, the Dominant 7th Chord is E7 and the Key Signature is A Minor. Many Players learn such things by Instinct, Intuition and Simply by what seems Musical to them. However you understand this, either by means of Simple Trial and Error as to what "Feels" Right or by means of Studying and Training in Musical Theory, in general, the end result will usually be the same. The Dominant Seventh Chord will in almost all cases, quite naturally lead your listening and learning ear to what your True Home Key Signature is. So it need not be difficult to understand if you genuinely want to comprehend, because this is "natural to the human ear". Let's Summarise. And Boil this right down. If C Major is your Home Key. G7th is the Dominant Seventh. And F Major is the Subdominant. If you can play the Three Chord Blues. You already know the Home Key Signature. The Subdominant Chord and Dominant Seventh. And that, Quite Regardless of whatever Key you are Playing In. So C, F and G7. Or E, A and B7. Or G, C and D7. It's really completely that simple. All these Chord sequences will probably be very familiar to you. All what is meant by what is written above is just as G7 naturally leads your ear to C Major. E7 naturally leads your ear to A Minor, as long as there are no Key Signature Sharps or Flats involved (for instance you are not Playing in the Key of A Major and using the Chords closely related to that Key Signature). If it looks like it there's a possibility the Key Signature could possibly be C Major, but E7 is naturally leading your ear to take you to A Minor, and that is what "Feels" right, it's a very sure bet that your actual Home Key Signature is A Minor, and not C Major. Very Straightforward. If you still struggle to grasp this. Google "Learning to Play the Blue Chords" or "The Three Chord Trick". Practise what you read there, your ear will gradually reveal you all you need to discover the Salient Point. Quote: "I suck" We all do at some point. I was born at a very early age and did my thumb. Possibly, you intended to convey the thought that you are not very accomplished? Then Hours of Solid Practice is the only remedy, there is no shortcut, beyond perhaps Hiring a Good Guitar Tutor. Good Luck! Speaking of Tutors. Here's a Blackboard, that the Albert you mentioned, left behind here in 1931. There was another Blackboard as well, but some silly person used a Blackboard Rubber and Rubbed it out after the Lecture. The last three lines give numerical values for the density (ρ), radius (P), and age of the universe. "L.J." on the blackboard indicates "light years" in German. Albert didn't Play the Guitar, but he did Play the Violin, and a late Pal I regularly corresponded with Accompanied Albert on the Piano, whilst he entertained everyone with his Violin Playing.
  8. Two further points. Entirely avoiding the inclusion of intentionally humorous content. If you ever need to decide whether any Song is in a Major or Minor Key, and settling matters such as Key or Timing can be perplexing. And so you feel somewhat confused about this because of the manner in which the Chord Sequences Move and "Resolve" themselves throughout the Progression of the Song. Quite regardless of the Song involved, (and happily we've discussed two excellent examples in this thread), two good "rule of thumbs" to follow, are.. What is the "Fundamental" Note the Bassist will Play? And from a purely "Musical Theory" point of view, remember the Dominant 7th Chord relative to a Key Signature of C Major will be G7, whereas the Dominant 7th Chord relative to a Key Signature of A Minor will be E7. So an easy way to discover or understand the "Dominant 7th" of a Key Signature is that it is the Note or Chord, that always takes you on to another Note or Chord, and makes you flow to the "Home" Key Signature. "That" will be your actual Key Signature. The former rule of thumb gives a great Clue, the latter rule of thumb Nails It Absolutely as it usually includes a 7th. It relates to the "Fifth" upwardly of whatever the True Signature Key is Actually Written In. Therefore, there should be no confusion about this, at all, whatever. The Dominant 7th Chord will always betray the Truth. For they are Quite Different. In Each Case. Lot's of Happy Memories from this Thread!
  9. Quote :"You seem to have confused the Davey Graham instrumental piece "Anji" with the Rolling Stones song "Angie", which is by Jagger/Richards and is on the album "Goats Head Soup"." - Snipped for Shortness - Quote :" you would know if you read through the whole thread." Thank you for your thoughts. Therefore to add verisimilitude to the authority of my statements. Please explore the notation and tablature of the Sheet Music linked below from a Major Publisher accrediting Davey Graham. Please check it out. http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0113376 As it happens. Next week my Niece is flying over from Ibiza, where she lives with her family in a Home owned by various members of the Family for the last 400 Years. The elderly but restored and extended building is next door to recently married Jade Jaggers Villa home that she has lived in for Decades. (Noel Gallaher has a Villa the other side). I have included a picture of the view from the back of my nieces garden. Obviously visiting Family Members from one Family bump into visiting Family Members from the other Family because its located in a Remote, very quiet area of the Island and Mick Jagger turns up quite a bit, and likes to have a drink in the Local, (as long as someone else is paying). So in spite of your impassioned thoughts, expressed concerning this issue, in point of fact, it's not as if I am Totally Unaware of Mick Jaggers Existence, or of the one of the Best Songs he and his Pal Keith, wrote. Here below, again from a Major Publisher of Sheet Music is the Mick Jagger and Keith Richards Song "Angie" which you will find is Written in the Key Signature of A Minor the Relative Minor Key of C Major. Please like the link above Check it Out and compare them to each other. http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0063584 So. Actually. I did Read the Whole Thread. One of my Colleagues is a U.K. Authority on Sheet Music Publishing. So I also bothered to check the Sheet Music Published, and actively accredited to the Artists Involved. To Summarise. And deal with the original question mooted by the thread. However you spell it, Angi by Davey Graham is Written and Published in the Key Signature of C Minor, (note the Three Flats) and involves the use of a Capo. http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0113376 Whereas. Angie by Mick Jagger and Keith Richards Is Written and Published in the Key Signature of A Minor. http://www.musicnotes.com/sheetmusic/mtd.asp?ppn=MN0063584 But your too hasty post. Highly notable for.. Being Completely Incorrect in Many Details, does has a positive side. It has given me, a Powerful Idea to Suggest to Mick for a New Name for a New Album Concept. I think The Rolling Stones should Produce an Album in Celebration of the U.S. Government, the Admirable Gibson Guitar Company, and Fora in Particular. Naming it "Sympathy for Henry". Nowhere. Does the original post. State the Artist or Clearly Identify the Actual Song. Davey Grahams work is regularly misspelt, predating the Rolling Stones work. I trust this helpful explanation, has brought much needed clarification, to anyone previously confused. I surely wouldn't want them to remain in that state, forever. But has provided a most interesting thread. Surely, what we all hope for. Best Wishes to All! img host
  10. Quote: "What are you views ?" Musical Projects. Like Musical Compositions. Have a Beginning, a Middle and an Ending. Music has a Spiritual Quality to its Life, so we could say that a Composition is Born, Lives and is Laid to Rest. Maybe we could say it Dies, but perhaps that would depend upon who was Playing? In what Key Signature was it Born? The Key of C minor. In what Key Signature did it Live? The Key of C minor. How was it Laid to Rest? The Key of Eb Major. Technically, it is Written in the Key of C Minor, but Finally "Resolves" to the Key of Eb Major, this is the correct way to understand this. The Original Recording was done with a Capo on the Third Fret. I trust this has helped bring some greatly needed clarification to the Discussion. Davey Grahams first Album "The Guitar Player" was Recorded to the Accompaniment of Drums. The Drummer was my Old Pal, (and sadly) the late Bobby Graham (no relation) a Top Hit Session Drummer of The Sixties who Played on many of my Recording Productions and indeed whom I Extensively Toured with on Occasions. http://www.independent.co.uk/news/obituaries/bobby-graham-session-drummer-who-played-on-around-15000-records-1791653.html Here he is with a Solo. Lil Jim played Backing Guitar on this Session. Tony Meehan Produced. Bob came from Edmonton London, Hit Session Drummer Clem Cattini lived round the corner. Lil Jim, I and many others sometimes stayed overnight at Bobs. Neither Jim or I drive so travelling was always a bit of a bother, Bob would usually pick me up for work. Lots of Good Memories in this Thread.
×
×
  • Create New...