but they have other kinds too, which has made this
one of Toronto’s top popular dining and party destination!
I am the pianist in case you were wondering.
REFRAINS * C Am F G 1. Heart and soul, I fell in love with you, 2. Heart and soul, I begged to be adored, 3. But now I see, what one embrace can do, * C Am F G 1. Heart and soul, the way a fool would do, 2. Lost con-trol, and tumbled overboard, 3. Look at me, it's got me loving you, * C Am F G C Am 1. Madly... Because you held me tight, 2. Gladly... That magic night we kissed, 3. Madly... That little kiss you stole, * C Am Dm7 G7 1. And stole a kiss in the night... C C7 2. There in the moon mist. TO BRIDGE 3. Held all my heart and soul. END BRIDGE F E A7 D7 G7 C7 A7 E7 Oh! but your lips were thrilling, much too thrilling, F E A7 D7 G7 C7 B7 G7 G Never before were mine so strangely wil- ling.
(remember to sing all 1s first then 2s
Each verse is followed by a CHORUS in this case)
VERSES * Em Em D Em Em D - - - 1. If you wanna hang out. You've gotta take her out 2. If you got bad news. You wanna kick them blues 3. If your thing is gone. And you wanna ride on * Em Em D Em Em D - - - 1. Co - caine 2. Co - caine 3. Co - caine * Em Em D Em Em D 1. If you wanna get down. Down on the ground 2. When your day is done. And you wanna run 3. Don't forget this fact. You can't get it back * Em Em D Em Em D - - - 1. Co - caine 2. Co - caine 3. Co - caine CHORUS * Em D C B She don't lie She don't lie She don't lie * Em Em D Em Em D - - - CO - CAINE
Is there a definitive minor blues song? Let me know if you find one.
There are three songs I’d like to mention.
The Thrill is Gone by BB King LINK YT
Am Am Am Am Dm Dm Am Am F E Am Am (12 bars – each chord is a bar)
Summertime by George Gershwin
Am6 E | Am6 E |Am6 E | Am6 E | Dm | F | E B7#9 | E7 | LINK YT
Am6 E | Am6 E |Am6 E | C | D7 | E7 | Am | E7 | 16 bars
Ain’t No Sunshine When She’s Gone by Bill Withers LINK YT
Am G | Am | Am G | Am | Em | Dm | Am G | Am | 8 bar pattern.
St Louis Blues has a minor blues middle section.
This is a good way to learn the chords. I recommend memorizing these.
Once you have these the rest of the more complex chords will start to come easier.
Singers and soloists who have two jobs and a family to support will find it difficult to get musicians together for rehearsals. Centres like Toronto have a wide assortment of musicians who can read. A lead sheet can provide a way for musicians to see where your song is going and in a single page can follow the structure and perform without any mistakes.
What does a musician see in a leadsheet
1) The structure of the song
2) The Key, the timing, the tempo and feel of the song
2) The pattern of chords in convenient easy to remember layout
3) A Bass player or keyboardist can see the Bass note if slash notation is used in the chords
4) A guitarist or keyboardist can see when the vocal melody is present and avoid playing on top of the words or the soloist.
5) If a musician cant read the staff they still have the chord symbols to use.
So a leadsheet will convey a whole lotta stuff that might be hard to explain to everyone
To be more complete the band can use one sheet for nearly everyone unless there is a transposing
instrument like a trumpet, sax or clarinet in which case the sheets can be prepared for if needed.
My playlists are growing on my youtube channel My latest additions are from Ennio Morricone’s Love Affair filmscore
I have not posted here for a while. Here ‘s an update.
1) http://leadsheetz.com/about/ricks-original-songs/ now has local links to the words.
2) Observations about harmonic rhythm I want to share with you.
From the days of Bach in the 17th century to the twentieth century harmonic rhythm went through a slowing down process. It was common for Bach to change harmony on every beat. 100 years later it was typical for Beethoven and Mozart to change harmony on every bar. There are plenty of exceptions but generally slow harmonic change became more and more a preference over the centuries. Some traditions in folk music from different cultures chose to limit chords to just three harmonies and some even chose no harmonic rhythm where the foundation was static based on a drone or a root and 5th.
As a composer songwriter I have found myself in recent years avoiding unnecessary harmonic rhythm. I now reconsider a traditional jazz standard or a new song with a look to harmonic change when it’s needed. I am happier with the sound. What I’ve discovered is that the melody has an opportunity to stand out and words seem more poignant. I’m not saying it’s the best way but it’s a direction that pleases my ears.