KVR Audio

neueliteratur · Post by **neueliteratur** » Sun Jan 30, 2011 7:44 pm

Hi,

I'm listening to Djavan's Sina:

The intro is C F/C in loop.

At 0:28, the verse starts and it's a 8-bar cycle.

It goes like this:

| C | F/C | C | X Y |
| Am | Em | F | Gbdim |

My guess is:

X = Bm11
Y = E7(#9)

Can anybody confirm this please?

Thank you.

ViktorW · Post by **ViktorW** » Sun Jan 30, 2011 8:25 pm

X = Bm7 with a diminished 5. But the diminished 5 isn't even played, instead of 1.3.5.7, the chord goes 1.3.4.7. The 4 (which is an E) is sort of an anticipation of the following E7.

[It's also possible to see this chord as already an E7, with the 5 in the bass, and instead of the 3 (the G#) there's the 4 of E7, only leading into the 3 on the next step. Sort of a delayed solution towards E7.]

Y = E7 is about right, no 9 necessary.

diijay · Post by **diijay** » Sun Jan 30, 2011 9:14 pm

Key: E

(intro 2x)

A D/A
E|---------------------------------------------------|
B|-------2-----------------------3-------------------|
G|-------2-----------------------2-------------------|
D|---4---2-------2-----------2---4-------4-----------|
A|-0---0-0-----0---0-0-----0---0-0-----0---0-0-------|
E|---------------------------------------------------|

(dicas)

A D/A
E|---------------------------------------------------
B|-------2-----------------------3-------------------
G|-------2-----------------------2-------------------
D|---4---2-------2-----------2---4-------4-----------
A|-0---0-0-----0---0-0-----0---0-0-----0---0-0-------
E|---------------------------------------------------

E|---------------------------------------------------
B|---------------------------------------------------
G|---------------------------------------------------
D|---------------------------------------------------
A|-----0-0---------0-0---------0-0---------0-0-------
E|---------------------------------------------------

E|---------------------------------------------------
B|---------------------------------------------------
G|---------------------------------------------------
D|---4-----------2-----------2-----------4-----------
A|-0---0-0-----0---0-0-----0---0-0-----0---0-0-------
E|---------------------------------------------------

(primeira parte)
A D/A
Pai e mãe, ouro de mina
A G#m7(11) C#7(9-)
Coração, desejo e sina
F#m7 C#m7 D7M
Tudo mais, pura rotina, jazz
D#°
Tocarei seu nome prá poder

A
falar de amor
D/A A
Minha princesa, art-nouveau
G#m7(11) C#7(9-) F#m7
Da natureza, tudo o mais
C#m7 D7M D#°
Pura beleza, jazz

(primeira parte)

A D/A
E|---------------------------------------------------
B|-------2-----------------------3-------------------
G|-------2-----------------------2-------------------
D|---4---2-------2-----------2---4-------4-----------
A|-0---0-0-----0---0-0-----0---0-0-----0---0-0-------
E|---------------------------------------------------

A G#m7(11) C#7(9-)
E|---------------------------------------------------
B|-------2-----------------------2-----------3-------
G|-------2-----------------------4-----------4-------
D|---4---2-------2-----------2---4-------4---3-------
A|-0---0-0-----0---0-0-----0---0-------------4-------
E|-------------------------------4-----4---4---------

F#m7 C#m7
E|---------------------------------------------------
B|-------2-----------------------5-------------------
G|-------2-----------------------4-------------------
D|---3---2-------2-----------2---2-------2-----------
A|-4---4-------------------------4-----4---4-4-------
E|-------2-----2---2-2-----2---2---------------------

D7M D#º
E|-------2-----------------------2-------------------
B|-------2-----------------------1-------------------
G|-------2-------2-----------2---2-------2-----------
D|---2---0-----0---0-0-----0---0-1-----1---1-1-------
A|-4---4---------------------------------------------
E|---------------------------------------------------

(segunda parte)
E4(7/9) D4(7/9) D7(9) C#7(9+) C#7(9-/13-) F#m7
A luz de um grande prazer é irre___medi___ável neon
E4(7/9) D4(7/9) E4(7/9)
Quando o grito do prazer açoitar o ar, reveillon

(segunda parte)

F#m7
E|---------------------------------------------------
B|--2------------------------------------------------
G|--2------------------------------------------------
D|--2---------2-----------2-----------2--------------
A|---------------------------------------------------
E|--2-2-----2---2-2-----2---2-2-----2---2------------

(refrão 2x)
A D/A
O luar, estrela do mar
A G#m7(11) C#7(9-)
O sol e o dom, quiçá, um dia a fúria
F#m7
Desse front virá lapidar
C#m7 D7M
O sonho até gerar o som
E4(7/9)
Como querer caetanear o que há de bom

(refrão)

A D/A
E|---------------------------------------------------
B|-----------------2-------------3-------------------
G|-----------------2-------------2-------------------
D|-----------------2---------2---4-------4-----------
A|-----------------0-0-----0---0-0--x--0---0-0-------
E|----------------------------------x----------------

A D/A
E|---------------------------------------------------
B|-------2-----------------------3-------------------
G|-------2-----------------------2-------------------
D|---4---2-------2-----------2---4-------4-----------
A|-0---0-0--x--0---0-0-----0---0-0--x--0---0-0-------
E|----------x-----------------------x----------------

A G#m7(11) C#7(9-)
E|---------------------------------------------------
B|-------2-----------------------2-----------3-------
G|-------2-----------------------4-----------4-------
D|---4---2-------2-----------2---4-------4---3-------
A|-0---0-0--x--0---0-0--x--0---0----x--------4-------
E|----------x-----------x--------4--x--4---4---------

F#m7 C#m7
E|---------------------------------------------------
B|-------2-----------------------5-------------------
G|-------2-----------------------4-------------------
D|---3---2-------2-----------2---2-------2-----------
A|-4---4----x--------------------4--x--4---4-4-------
E|-------2--x--2---2-2-----2---2----x----------------

D7M E4(7/9)
E|-------2-----------------------2-------------------
B|-------2-----------------------3-------------------
G|-------2-------2-----------2---2-------2-----------
D|---2---0--x--0---0-0-----0---0-2--x--2---2-2-------
A|-4---4----x-----------------------x----------------
E|---------------------------------------------------

psenior · Post by **psenior** » Sun Jan 30, 2011 9:28 pm

X = Bm7b5
Y = E7b9

When you see chords with extensions & alterations, it usually doesn't really matter whether you play them or not. You can play your own preferred variation of the chord and it should be OK.

neueliteratur · Post by **neueliteratur** » Sun Jan 30, 2011 9:41 pm

Thank you!

Sascha Franck · Post by **Sascha Franck** » Mon Jan 31, 2011 2:12 am

I don't understand what all this talk about the tune being in the key of C is about.
The tune from the YouTube link clearly is in A, the only person describing the chords properly is diijay (just that the tune is not in the key of E).
And fwiw, the II-V progression to the parallel F#min is sometimes using G#m7b5, sometimes G#min11, and occasionally even a G#min9/11 (the 9th A# standing out pretty much as it's not part of either A or F#min, it's kinda "borrowed" from F#) for the II chord and C#7 with all sorts of alterations (b/#9, b/#5).

- Sascha

A.M. Gold · Post by **A.M. Gold** » Mon Jan 31, 2011 4:35 am

psenior wrote:
When you see chords with extensions & alterations, it usually doesn't really matter whether you play them or not. You can play your own preferred variation of the chord and it should be OK.

Unless you care about chord voicings and how things were actually written.

neueliteratur · Post by **neueliteratur** » Mon Jan 31, 2011 7:59 am

Thank you people!

someone called simon · Mon Jan 31, 2011 9:47 am

ViktorW wrote:X = Bm7 with a diminished 5. But the diminished 5 isn't even played, instead of 1.3.5.7, the chord goes 1.3.4.7. The 4 (which is an E) is sort of an anticipation of the following E7.

If there was a flat 5 in that chord it would sound different. I would call it at "Bm7 add9 (no 5)" or G#, seeing there is dispute about the key. It's not a pretty name, and there maybe be a more correct way of saying it, but it describes the notes of the chord, E7sus4/B is a prettier name I guess.

ViktorW · Post by **ViktorW** » Mon Jan 31, 2011 9:53 am

Sascha Franck wrote:I don't understand what all this talk about the tune being in the key of C is about.
The tune from the YouTube link clearly is in A,...

Didn't bother to check, and I don't have perfect pitch. I simply assumed that the OP checked before posting. Consider mine a cover version then.

ViktorW · Post by **ViktorW** » Mon Jan 31, 2011 10:04 am

someone called simon wrote:If there was a flat 5 in that chord it would sound different. I would call it at "Bm7 add9 (no 5)" or G#, seeing there is dispute about the key.

True, it would sound different, but in theory the 5 is part of the chord structure, and in this case the implied 5 (the one that's left out) is a diminished 5. Certainly not an undiminished or raised one.
But your "Bm7 add9 (no 5)" is a good solution I think, if we assume a root key of C. (Mr Franck just informed me that we're not, btw.)

kbaccki · Post by **kbaccki** » Mon Jan 31, 2011 7:36 pm

"Modern sounding"? That transition is soooo 80's...

Seriously, sounds like something from a post-Doobies Michael McDonald tune... Or Anita Baker, Al Jarreau, etc. Very recognizable. The alterations that the keyboard player throws in, for example during the second verse when he's not singing at 1:56, is what makes it interesting... Descending minor flat 5's or major/minor or whatever they are.

psenior · Post by **psenior** » Tue Feb 01, 2011 7:42 pm

A.M. Gold wrote:
psenior wrote:When you see chords with extensions & alterations, it usually doesn't really matter whether you play them or not. You can play your own preferred variation of the chord and it should be OK.
Unless you care about chord voicings and how things were actually written.

You do things your way on Mars Colony & I'll do things my way on Earth.

Seriously, many chord charts contain errors. You have to either listen to several recorded versions of the tune or ask the oldest, most professionally acclaimed jazz musician you know for the correct, commonly used ones.

Chord charts also do not tell you how to voice the chord. I like figured bass because it does tell you which inversion to play.

Help with recognizing two "modern sounding" chords