Doe a Deer (warning, Sound of Music content)

Phil_aka_Pip

viz said:

Because that's not the harmony of the song Doe a Deer. You know it? From the sound of music.

Er, no not well. I think you've caught me out on not knowing songs from the sound of music before.

viz

Hahahahahaa I think I have!!!! You do need to watch it you know.

bloodandtears

Doe - E major, standard E chord.
0-2-2-1-0-0

Ray - a dominant chord, ie B, but you want to play the bottom F#
2-2-4-4-4-2

Me - an E chord again but you want the C# to be the bottom chord, so you play 1st inversion (or E over C#)
4-7-6-4-5-4

Far -
5-6-7-4-4-X

Sew -
7-7-9-9-9-7

La -
9-12-11-9-10-9

Tea - ?????

viz

Sew has two chords - the E 2nd inversion and then A 1st inversion;

La has 2 chords - F# 2nd and B 1st;

Ti has G# 2nd, then c# minor 1st - that's an unusual chord

Then a quick turnaround back to doe.

ElectroDan

I'm out!

MatthewShreddery

It's just a musical way of playing a major scale, alternating between inversions of tonic and dominant chords.

In E:

E major chord root position (open low E in the bass)

B7 chord 2nd inversion (F# in bass)

E major chord 1st inversion (G# in Bass)

B7 chord 3rd inversion (A in bass)

etc etc etc

frankus

I think I'm lost... is 7 chordwang?

frankus

I mean, inversions I get like this:

root: C maj,

1st: Em6

2nd: (a Gsus ... as in Gsus wtf is that?!)

 

But I also think in terms of Brett Wilmott's harmonic extensions, as explained to me over a beer by Phil Robson many moons ago...

C maj - is also F dominant leaving space for the bass player... etc.

MatthewShreddery

frankus said:

I think I'm lost... is 7 chordwang?

What do you mean?

thomasross20

I could never do this stuff on the fly in a live situation.

MatthewShreddery

@thomasross20 ;

You'd be surprised. You may not play an entire scale of this stuff, unless you are a solo jazz player or something like that, but the extra fretboard knowledge this kind of exercise gives you can really help.

thomasross20

It doesn't sound too bad in terms of what to do. Basically you guys are playing C or A shapes starting from the A string and playing the 3rd or 5th in the bass on the E string, right? Do you do the same with the D shape starting from the D string?

MatthewShreddery

Forgot to add this only works up to C#, at which point you play A/C#, then B/D# then E.

MatthewShreddery

Do Re Me (mi):

bloodandtears

@MatthewShreddery ... cheers for this...

I'm right in thinking it supports the chords I'd listed earlier ie.. E major --> F#/B etc..??

MatthewShreddery

@bloodandtears

Pretty much, though I think you got some of your letters muddled up.

Chords I played were:

E

B7/F#

E/G#

B7/A

E/B

A/C#

B7/D#

E

frankus

MatthewShreddery said:

frankus said:

I think I'm lost... is 7 chordwang?

What do you mean?

What I mean is:

By x over y chords do we mean "slash chords" i.e C7/G?

Where's the context? ..if it helps understand inversions - what's the sticking point of inversions that it's attempting to overcome?

Saying re is a dominant chord is at odds with the solfage music system which is about intervals from a root note, so not enough information to determine minor/major or dominant.

Saying the second chord in diatonic chord progression is at odds with Nashville notation... so why is that?

How come me reverts to an E chord... there's not even a one to one correspondence of solfage to chords and no indication of the pool of chords that are being chosen from or the reason for their inclusion.

After reading the whole thread several times, I have pieced together this: people are talking about playing Do-Re-Mi from the Sound of Music in such a way that some sort of bassline does something with the inversions and this is edifying in some way.

After a few more rereads and googling the fakebook for do-re-mi I can transpose the song from C and G7 .. (so that's where the E and B7 is coming from).

So yeah, like Arthur C. Clarke's law "any sufficiently advanced technology is indistinguishable from magic", frankus' law is "any music theory insufficiently explained is indistinguishable from numberwang".. ja MatthiasSchehderrei, das is richtig!! das ist numberwang... glauben!

 It's been a bit of a clusterf**k of domain specific terms with no original context to pin on any one of them... it's taken too much effort to get to sort the information out to this extent:

The song do-re-mi can help with inversions (some how).

Usually written in C, we're going to transpose it E (for some reason)

We're going to use slash chords to describe an ascending bassline played as we alternate from E to B7

Somehow the slash chords relate back to inversions.

...at that point I am thinking "It took less time to really learn the Ruy Lopez opening in chess".

 

... that's what I mean.

 

MatthewShreddery

It's just a bit of fun mate

frankus

for you maybe, I've tried earnestly to figure out wtf is being described.

Apart from a few sages who seem to have read about this elsewhere and not shared links to the better descriptions they must have read, because anyone grokking it from this thread is not clever they're a f***ing psychic.

I kinda get fed up with something, that increasingly feels like a largess, I like being included, I like understanding music stuff, I've had some great teachers and I know I'm capable enough - but I've never been okay with people getting huffy because what they're saying is not making sense... what it boils down to is indifference or impatience or something like, and a resentment at the person who (originally) patiently offered the opportunity to revisit what was being said and describe it more clearly.

 

EricTheWeary

MatthewShreddery;656695" said:

frankus said:

I think I'm lost... is 7 chordwang?





What do you mean?

I assumed that was like numberwang for guitarists and the only bit of this Discussion I could make any sense of.