Anonymous has left a new comment on your post "What it
looks like":
Dan, okay, I think there is some confusion caused by the
capo.
Without getting into too much music theory, C#m is the
relative minor of E, so if you're playing an Eb chord, the relative minor is
Cm, etc.
Given the chord progression you've shown in your chart, all
the Eb's should be E naturals. Also, a few other things could be changed to
make the progression closer to the way it's composed:
In the line where it says "the major lift," there
is no chord change over "lift," stay on the A chord. In the line
"the baffled king composing hallelujah," there is a B chord over
"baffled," and there is a G#7 over the second syllable of
"composing." And on the final "hallelujah" in the 7th line,
the chords should be E B E.
Play along with the KD Lang Youtube video I linked and see
if these chords don't fit a bit better (-:
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I appreciate the advice, but we playing to Nancy's voice and
her interpretation. I honestly don't care if the song sounds like it should - as was recorded by someone else. Or
as it was written. Sorry. I keep telling all the old men in my life, 'that I've
never played a song right yet, and doubt if I ever will.' The picture above is the way my fingers feel
after 2 two hour sessions of practicing the chords on this thing.
I'm taking lessons, taking classes, read a whole book about
music theory and hope to understand a great deal more in the next few years. I
write books and paint pictures. I know a hell of lot about literary theory and
dramatic form and can discuss structure in Tolstoy versus William Burroughs. I
can discuss dramatic structure in painting and compare Picasso to Raphael in
construction. There is no "should be"
Take my word for it.
What there is: is what works and what does work, and
sometimes you are forced to make something 'that doesn't work' into something
that does.
The band is a group of amateur musicians that have their
moments, but except for Ben, they all need their music written down in front of
them. Me included, but I'm working on that. A couple of fiddle players have
passed through the group that could just play, but they didn't last.
The novel I published has little sections in it where I
intentionally change tense and move from third person to second person.
Everyone told me not to do it. This isn't the way it should be done. Read
Sevastopol by Tolstoy.
I can tell you where to find the lousy parts in Frost,
Faulkner & Hemingway. I can show where Winslow Homer copied Millet. Where
Wyeth copied Toulouse-Latrec.
The other night I pointed out to someone that there's a
limit to Emmylou Harris's voice- a note she can't hit and she deals with by
whispering the words there. Are we supposed to whisper words because that was
the limitation of the big time singer? Do we really have to sing Dylan songs
like he would sing them? Cohen was flat through out my teenager years listening
to him. I appreciated him, because I could sing along with him. I can do a
perfect imitation of Kris Kristofferson, does that mean I should?
Thanks for advice. Please respond- I'd love to have a
dialog. Have you read "The Sunlight Dialogues"/
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