The Spencer Davis Group's "Gimme Some Lovin'"

The notation I have this week (which I was going to do last week but completely forgot about until it was late at night) is a little different from what I've done previously.  Because most of the bass part for the Spencer Davis Group's "Gimme Some Lovin'" is just the same measure of G notes (with the last note in a different octave) over and over again, I didn't write out the notation in full.  I have one line of that repeated measure; I skipped the second line (although I still have bar lines because I insert bar lines into a couple pages of blank notation at once and then use them for various projects later); and the third line is the only different part (for "And I'm so glad we made it..."), which transitions back to that repeated measure with a glissando.  That same measure of G notes is repeated to the fade out at the end.

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Because that measure with G notes is so prevalent, I think the song is in G major, although there are also Bb and Eb notes, so I'm not positive on the key.  I should mention that I figured this out about four years ago, and I'm assuming that what I have is accurate.

The Lumineers' "Stubborn Love"

Elie Wiesel died a few weeks ago, and a day or two afterwards, I happened to see one of his quotes, which - in full - runs:  "The opposite of love is not hate, it's indifference.  The opposite of beauty is not ugliness, it's indifference.  The opposite of faith is not heresy, it's indifference.  And the opposite of life is not death, but indifference between life and death."  The first line of this sounded familiar to me because it's also a line in the Lumineers' "Stubborn Love."  In the second verse, it appears as "The opposite of love's indifference."  I haven't seen anything that confirms this influence, but the lines are so similar that it seems unlikely to be just coincidence.

Mel Tormé's Jazz and Velvet Disc 3 - Blue Moon

About three weeks ago, I listened to a four-CD set of Mel Tormé titled Jazz and Velvet.  There were a couple things I'd previously noticed about a couple songs on disc three (subtitled Blue Moon), and I thought I'd write about them this week.

"Pythagoras, How You Stagger Us"

The first two lines of this song are "Friends, Romans, and fellow students / Gather 'round and little to [a] little math,"  I might not have the end of that second line right, but in any case, it's a reference to the first line of Mark Antony's speech in Shakespeare's Julius Caesar: "Friends, Romans, countrymen, lend me your ears" (III.ii.73).

If I understand the liner notes correctly, this was a song from Tormé's radio show, which had a collegiate setting (an-other song on the disc is "Dear Old Fairmont"), so along with the mathematics that are integral to the song, literature and history are also touched on via that allusion.

"The French Lesson"

This is probably pretty obvious, but there are some quotations of "La Marseillaise" here.  There are a few instrumental quotations throughout, and at the end, Yvonne sings the first line: "Allons enfants de la Patrie."  Since the song is about learning French and "La Marseillaise" is the French national anthem, it makes a lot of sense.

The Dave Clark Five's "Don't Let Me Down"

About a month ago, I listened to The History of the Dave Clark Five, and I became interested in the bass part of "Don't Let Me Down."  It follows a paradigm that - with some variation - I've noticed in a lot of rock and roll songs from the '50s with a I IV I V IV I progression.  For the first three chords (I IV I), the bass part arpeggiates the chords with a root, third, fifth, sixth, minor seventh figure (which is then played backwards to return to the root).  For the next two (V and IV), there are arpeggiations of pure triads (root, third, fifth, third), and then the last chord (I) goes back to the root, third, fifth, sixth, minor seventh figure.

It wasn't until notating "Don't Let Me Down" that I realized that it diverges from that at one point.  Near the end of the piano solo there's a D (the fifth scale degree) instead of an F natural (the minor seventh scale degree).  In the notation, this is the first note of the fourth measure in the fourth line.

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I have a few extra comments (I can't really say "notes") about my notation.  First, I can't for the life of me draw a good-looking quarter rest.  Second, I think there may be some glissandi that I didn't indicate.  I wasn't sure if what I was hearing was part of the bass line or the saxophone, but since I couldn't figure out a good way of playing those glissandi, I didn't include them in my notation.

The Kinks' "Something Better Beginning"

For my Collection Audit project, I recently listened to the deluxe edition of Kinda Kinks.  The opening guitar figure in "Something Better Beginning" (which also recurs later in the song) sounded interesting to me, so I figured out how to play it.  I was wondering if it involved an interval of a fourth or a fifth, but it's actually just a second.  Simplified, it's a modulation from D major to Dsus2.  Specifically, it's this:

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

Once I had that, I started figuring out the rest of the chords and eventually got the whole chord progression:

|: D major / Dsus2 :|
D major / C major
E minor / A major / E minor / A major / D major

D major / D7 / G major
G major / D major / A major / G major
G major / D major / A major
|: D major / Dsus2 :|

Bb major / D major / Bb major / D major
F major / C major / Bb major / A major

D major / C major
E minor / A major / E minor / A major / D major

D major / D7 / G major
G major / D major / A major / G major
G major / D major / A major
|: D major / Dsus2 :|

Where I have "|: D major / Dsus2 :|" in the chord progression, it's more accurately the tab I have written out above.

Once I had the chords, I started thinking about the lyrics, and I found a couple instances where the tonality of the chords emphasizes the lyrics.

While the song's in D major (two sharps), the bridge is (with some accidentals) in F major (one flat).  The first two lines in the bridge mirror this unexpected tonality with unexpected love:  "I never thought I'd love like this until I met you / I found something I thought I'd never have."

The song ends with that D major to Dsus2 transition, so it doesn't really resolve.  Similarly, the singer/speaker's question ("Is this the start of another heartbreaker / Or something better beginning") is left open.  There isn't an answer.

The Searchers' "What Have They Done to the Rain"

When I started this project of posting notation every week, I failed to realize that 50/90 takes up a lot of time.  Because of 50/90 (and other projects) I don't have notation this week.  Instead, here are the chords to the Searchers' "What Have They Done to the Rain."  I was really into the Searchers in college (even though the only album I had was a two-disc compilation, which is still the only Searchers album I have), and I figured out how to play a lot of their songs.  At one point, I knew more songs by the Searchers than any other band, so for the next few weeks, if I don't have notation, I'll probably have the chords to a Searchers song.

Anyway, the chords for "What Have They Done to the Rain":

Verse 1
E major / F# minor / B major / E major
C# minor / B major / A major / B major

Verse 2
E major / F# minor / B major / E major
C# minor / B major / A major / E major
A major / B major

Verse 3
same as verse 1

Verse 4
E major / F# minor / B major / E major
C# minor / B major / A major / E major
A major / B major / A major / B major

Ending tag
E major / D major / E major

Spoon's Ga Ga Ga Ga Ga

I recently watched a video from The Art Assignment, an art show produced in association with PBS.  The video itself is about art around Los Angeles, and they briefly show this picture, labelled "Lee Bontecou in Her Wooster Street Studio":

I had to double-check, but I quickly confirmed that this picture lookt familiar to me because it's used as the cover for Spoon's album Ga Ga Ga Ga Ga:

The Dave Clark Five's "I Need Love"

A couple weeks ago, I listened to The History of the Dave Clark Five.  I wanted to figure out the bass part to "Don't Let Me Down" (because I thought it followed a pretty common paradigm, which it does; hopefully, it'll be the notation I post next week), and I got my bass out even before the first disc was over.  Sort of by accident, I figured out the bass part for "I Need Love" (the last track on the first disc) while waiting for the disc to finish.  The majority is just the same four notes repeated over and over again:

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I wrote this out by hand because I don't know how to insert the squiggly lines that indicate glissandi in the MIDI in my DAW.

I probably could have shortened the second line (I have the four-bar phrase, and then the same four-bar phrase within repeat signs, which is sort of redundant), but I thought it might be a bit more clear (as far as what note has a glissando to which) the way I have it here.  And then, since the bass part repeats, I just repeated what I had.

I hadn't realized until I started notating that the last G in that repeated four-bar phrase has a glissando back to the first C.  Because of that, it seems like that four-bar phrase is played on only one string.

Roy Orbison's "Oh, Pretty Woman"

This is the first post in a new project where I try to post some notation (or, failing that, some chords I've figured out) every Friday.  For this one, I have the guitar riff from Roy Orbison's "Oh, Pretty Woman."  I heard it in a commercial recently, and I figured I should learn it because it's probably one of the most famous riffs.  I think it won an award recently.  Plus, the note values are pretty simple; nothing more complex than an eighth note.

I have a few comments about how I've notated this.  First, this is written an octave higher than it's played.  I didn't want to have to mess with a bunch of ledger lines.  Second, this is the riff as it's played at the very beginning; later in the song, the riff is played without the three introductory bars.  Third, at the beginning of the song, there's a measure of just drums, which I didn't include in my notation.

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Notation! (An-other Musical Project)

I have over a dozen musical projects, but I'm adding an-other one, which in some ways is a combination of elements from two others.  For about four years now, I've been trying to learn every part to every song by the Zombies (although I know I never will), and recently I started posting some of the chord progressions and notation.  From late 2012 to early 2015, I recorded a hymn every week to try to familiarize myself with notation.*  I've gotten better at knowing where the notes go on the staff, but the note values still give me problems sometimes.  So in an attempt to get better at that aspect of notation, I'm going to try to write out the notation for a part of a song every week (on Fridays).  The other projects** I have in the same vein as my Zombies project (trying to figure out a band's entire catalogue) are excepted from this, although I should start doing this same thing within each of those projects.

I have only three parts planned so far***, and I know I won't be able to do this every week, so it's likely that I'll often just post chords (or maybe even a tab) instead.  When I first started learning to play guitar, I was dismayed by how often I lookt up the chords for a particular song I wanted to learn to play and either didn't find it or found a chord progression that had a lot of errors in it.****  I'm under no delusions about how much traffic my blog gets, but there's still a possibility that my posting something will be helpful.  If nothing else, it's a resource that I can use myself.

--
*in January I revived and revised this project into Lyres, Harps, and Cymbals, which is about sacred music in general
**see this page for more on these
***of these three, two are bass parts, which is a trend I'll probably continue inadvertently; bass parts just seem easier to notate
****I can still remember finding something that said the chord progression for the Zombies' "The Way I Feel Inside" was the common group of I IV V vi chords in G major, but - after having figured it out myself - I know that it's in B major and a lot more complex than just I IV V vi

The Yardbirds' "For Your Love"

A couple months ago, while listening to Herman's Hermits' cover of the Yardbirds' "For Your Love," I realized that I'd misunderstood some lines.  However, the more I got thinking about it, I realized that how I'd originally understood it is also a valid reading.  I recently listened to the Yardbirds' original version for my Collection Audit project, and when I transcribed the lyrics, I discovered a third reading.

The line in question is the second line in the second verse.  I'd always understood it as "I'd give the stars and the sun 'fore I live," with the meaning that the singer/speaker would want to give the universe to the girl he loves before he'd allow himself to live and be with her.  (In explaining this, I've realized that it actually doesn't make that much sense, but this reading persists for me just because it's the only one I had for so long.)

When I recently heard the Herman's Hermits version, I realized that the line break might not interrupt the meaning.  Instead of two separate sentiments ("I'd give the stars and the sun 'fore I live" and "To thrill you with delight, I'd give you diamonds bright"), it's just one thought divided by the line break ("I'd give the stars and the sun for I live / To thrill you with delight") and then the shorter promise that "I'd give you diamonds bright."  The "[be]fore" that I had thought was a temporal conjunction could be rendered as "for" and used as a causal conjunction.  (It could be rephrased as "I'd give the stars and sun because I live to thrill you with delight.")

I suspect that the first of those readings ("I'd give the stars and the sun 'fore I live" as a distinct thought from "To thrill you with delight, I'd give you diamonds bright") made more sense to me because the same structure is present in the first verse:  "I'd bring you diamond rings and things right to your door / To thrill you with delight, I'd give you diamonds bright."  Because of the line break, it's read more obviously as the two promises "I'd bring you diamond rings and things right to your door" and "To thrill you with delight, I'd give you diamonds bright" rather than the uneven "I'd bring you diamond rings and things right to your door / To thrill you with delight" and "I'd give you diamond bright."

But if that weren't enough, when I transcribed the song, I found yet an-other reading.  I'd been thinking of just the lead vocals, but in between those two lines, the backing vocals add "For your love."  This addition multiplies the ways in which the lines can be understood.

In the first verse, there's now:

1. I'd bring you diamond rings and things right to your door / To thrill you with delight, I'd give you diamonds bright
2. I'd bring you diamond rings and things right to your door / To thrill you with delight; I'd give you diamonds bright
3. I'd bring you diamond rings and things right to your door (For your love) / To thrill you with delight, I'd give you diamonds bright

And for the second verse:

1. I'd give the stars and the sun 'fore I live / To thrill you with delight, I'd give you diamonds bright
2. I'd give the stars and the sun for I live / To thrill you with delight; I'd give you diamonds bright
3. I'd give the stars and the sun for I live (For your love) / To thrill you with delight, I'd give you diamonds bright

In the third reading of each, the "For your love" is given as a reason for the singer/speaker's bringing and giving certain items.  In the first verse, he says he'll "bring... diamond rings and things" for love, and in the second, he says he'll "give the stars and sun" as gifts because he lives for love.

There are so many ways in which the words can be understood, yet they still mean more or less the same thing.

Will Practice Scales for Employment

As of last month, I've been unemployed for two years (I graduated from university but haven't been able to find a job because I live in a cesspit devoid of occupational opportunity).  I routinely check job listings but haven't been able to find anything that 1) I'm qualified for and 2) wouldn't detest doing (it seems like everything is medical, heavily industrial, or truck driving).  My unemployment has become even more frustrating because a number of my former classmates are either continuing their education with more advanced degrees or already have really good positions.  For the last month or two, whenever I saw something someone posted about their amazing job, my reaction was to go check the job listings again.  And - of course - because I was already checking them almost everyday, nothing new (and certainly nothing good) came up.

Recently, I thought that I should redirect this impulse and make it productive.  I eventually came up with this: every time I see something that reminds me of my shameful unemployment, I'm going to practice a scale.  I already delineated a cycle of the twenty-four scales (I'm following the order in Bach's Well-Tempered Clavier, even though I've never heard it, much less played it) on five instruments (piano, bass, guitar in open D tuning, mandolin, and guitar in standard tuning).  For the fretted instruments, I'll start one fret higher every time I repeat the cycle of twenty-four scales.

Last week, I reviewed the left-hand finger positions for playing piano scales because - despite a semester of piano class - I didn't remember them (I did remember the right hand).  In doing this preliminary practice, I realized that I should actually give this project some more structure, so I'm going to practice a scale everyday regardless of unemployment woes.

I'm sure that relentlessly practicing my scales won't help me get a job, but music (in one form or an-other) is something I've been intensely interested in for the past few years, so drilling myself in one of its most basic structures surely can't be a waste of time (maybe I'll finally develop some more advanced keyboard skills too).  My chances of actually getting a job in music are astronomically minuscule (although that also seems to describe my chances of getting any sort of job), but I'm sure it'll always be a hobby for me.  In fact, if I do ever get a job, I'll still probably put more effort into my various musical endeavours than my professional work.

I'm not sure for how long, but I'll be documenting what scales I practice on my Twitter feed.