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Angie .. is it in key of Am or C ?


EuroAussie

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I probably missed the answer to this question....

 

Do we even know the song being referred to?

 

Angie is a well known Stones song with a wistful minor feel

 

Anji is an iconic instrumental by Davy Graham....a blues in A minor... [unsure]

 

So there you go.... [biggrin]

 

V

 

:-({|=

 

PS....Often, but not always, the dominant chord will indicate whether the key is major or minor...

So if there are G or G7's the key is C major

If there are E or E7's the key is A minor

Also...many great songs move through more than one key.... [thumbup]

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Interesting thread. It rescued me from almost an hours worth of TV. I was well into page two before I got that it was about Angie and not Anji. As a finger-style player the Davey Graham tune was what came to mind first. Incidentally even though it was played on the third fret and sounded like Cm most guitarists will think of it as being in Am because it uses Am 'shapes'.

 

I actually tried playing it in Cm without a capo. It would be possible but I don't need that much work, or grief, right now. The first version of Anji I heard was by Bert Jansch, and I saw him playing it on video just last night. He said Davey Graham told him he played it too fast and with the wrong notes. I suspect more people have heard Jansch's and Paul Simon's versions more than the original. So much for the composer's intentions.

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For the same reason, I don't like cryptic music. I still don't fully understand American Pie (but most of it)....

 

Don't feel bad. I heard a radio interview with Don McLean several months after American Pie came out. He stated then that the words didn't mean anything he just strung them together.

 

FMA

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Catcher in the Rye and likely others that I don't readily recall...

I'm glad to finally see Cather in The Rye mentioned on the Board. This was the splint that made the boat float.

My favourite book as a teen and it still reverberates in some abstract form in there - now I know why I signed up back in 2010.

 

And I recall looking the original Burns 1792 poem up as one of the first things I did on the net.

 

 

The 1951 book has at least 2 reasons for the title.

 

1 is that Holden Caulfield only can imagine 1 job = Standing guard on a rye-field where kids play, preventing them from running over the cliff.

 

2 is that he hears a boy quote or sing the song that came out of Roberts Burns verses somewhere in the wake of the release.

 

The song was covered in 1944 and might have been on the little guys mind from radio.

 

Some say it was a children-song - others can hear unmistakable erotic undertones beneath the clean voiced innocent melody.

I personally think something forbidden is goin' on there far behind the sea waving golden straw. Won't say no more. .

 

A song to learn ? - why not. But it'll take one of those ancient archtops, , , and a mandolin crafted by no one else than Orville H. Gibson.

 

 

1928 ~ http://www.youtube.com/watch?v=zQ5BTAo3xtY

 

 

 

O.H.G. ~ OrvilleHGibson4.jpg

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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

 

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You want to come for a visit Em7? I could use some help on corral fence......

 

Actually like corral fences* - besides they are ideel for straw in mouth J-45 playing, , , or of course old Country Westerns.

 

But you obviously trick me into a trap, Mr G. I say yes - you give the address and then - according to your sub-line - kill me.

 

Where are you goin' with this paradox ?

 

 

 

* prefer them in organic shaped oak.

 

 

 

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Actually like corral fences* - besides they are ideel for straw in mouth J-45 playing, , , or of course old Country Westerns.

 

But you obviously trick me into a trap, Mr G. I say yes - you give the address and then - according to your sub-line - kill me.

 

Where are you goin' with this paradox ?

 

 

 

* prefer them in organic shaped oak.

You'd be ok, I might work you to death though...but you'd be well fed.

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You'd be ok, I might work you to death though...but you'd be well fed.

 

Okay, sounds reassuring - I see you changed the sub-line. Should have screen-printed the former just in case.

 

But if there are pulled pork sandwiches w. cole slaw, I'll be there before X-mas.

 

C U on the same side of the fence

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Ok then...I'll play.

 

It's actually a tough one, a trick question. The recorded performance isn't just not in key, it's not in tune.

 

First instinct says G major, based on the three chords. But wait...

 

There are a lot of "bluesy" licks, that SEEM to be based on D. Also, I haven't picked apart the notes of the piano player, but based on the tonality I hear, HE seems to go back and forth between a Major scale and a Blues scale.

 

BB King was said to be quite the Mixalodian.

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