Nowhere Man Chord
- jingle_jangle
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Doug, you misread my reply!
i was addressing the "substitution of the A maj for the F#m7" part of the reply to you, and the substitution of the Am with an A maj to Patrick (third post in this thread). Read his post on the previous page.
Yes, the structure of the F#m7 chord as you call it out, makes perfect sense, but doesn't sound right with the guitarist playing an Amaj and the bassist providing the F#. Guitarist should play an F#m7 chord.
i was addressing the "substitution of the A maj for the F#m7" part of the reply to you, and the substitution of the Am with an A maj to Patrick (third post in this thread). Read his post on the previous page.
Yes, the structure of the F#m7 chord as you call it out, makes perfect sense, but doesn't sound right with the guitarist playing an Amaj and the bassist providing the F#. Guitarist should play an F#m7 chord.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
Paul, yes, you're correct that they're different *voicings* of the same chord, which can sometimes radically alter the sound of the chord (or at least the listener's perception of the chord). In the same way that playing root chords vs. barre chords (or even different barre formations of the same chord in different spots on the neck) can radically change the sound of a chord or chord progression.
I was thinking more in terms of general music theory than an exact reproduction of the recorded performance (like Bob, I enjoy throwing in inversions & other chord substitutions, or otherwise modifying cover versions, but it's not appropriate to do that for an "exact" copy of a song; sort of the "tribute band" vs. "cover band" issue ... in fact I'm confronting the which-position-for-barre-chords issue in a tribute band I'm currently playing in).
I was thinking more in terms of general music theory than an exact reproduction of the recorded performance (like Bob, I enjoy throwing in inversions & other chord substitutions, or otherwise modifying cover versions, but it's not appropriate to do that for an "exact" copy of a song; sort of the "tribute band" vs. "cover band" issue ... in fact I'm confronting the which-position-for-barre-chords issue in a tribute band I'm currently playing in).
My basses are Rickenbackers. My synthesizers and recording gear are analog.
- jingle_jangle
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Gotcha 100%. I was coming from an "authenticity" mood...what you're saying is true, but you really need that m7 to set it up properly. In my mind, it's straying too far from the mood to substitute as we've been hashing. Just my opinion, Doug. Thanks for taking this stroll down Music Theory 101 Lane with me!
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
- jingle_jangle
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- rickinroma
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roadrunners
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javert
Thanks Paul, I know you guys are here and I'm learning a lot by hanging out here. Mark, I'm sure there are Beatle people here in Fl. But does not seem to be in my neck of the woods, Englewood and West Charlotte County. I really can't travel too far on a regular basis. When I talk about the Beatles, it's "yea man they were good" it's a younger crowd around here. I'm 49 and metal ain't my thing.
Following up on the Nowhere Man chord, what is the first chord played before the intro riff? I make it Esus4.
Life, as with music, often requires one to let go of the melody and listen to the rhythm
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roadrunners
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My question would be, if George played the riff, did he not also play the chord just before it?
Life, as with music, often requires one to let go of the melody and listen to the rhythm
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