Re: [Harp-L] Re: Backing up a Singer (George Jones) - and that weird transition note

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

I erroneously wrote:

>When he hits that final F# note, the chord is the V chord of the next
key, G. 
>That V chord is D, and F# is part of the F major triad: D-F#-A.

I meant to write "D major triad" and not "F". Now that would have really poured on the clam juice.

Winslow Yerxa

Author, Harmonica For Dummies ISBN 978-0-470-33729-5

--- On Fri, 11/13/09, Winslow Yerxa <winslowyerxa@xxxxxxxxx> wrote:

From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
Subject: Re: [Harp-L] Re: Backing up a Singer (George Jones) - and that weird transition note
To: harp-l@xxxxxxxxxx
Date: Friday, November 13, 2009, 1:53 PM

Actually that "clam" note works harmonically in a perfectly conventional way.

On the Hee Haw video, the band is playing initially in F# - Charlie must have been playing a B harp.

When he hits that final F# note, the chord is the V chord of the next key, G. That V chord is D, and F# is part of the F major triad: D-F#-A.

What creates a sense of disorientation is that Charlie makes it sound like that F# should be the root of the chord, as he has just spent the preceding notes outlining the F# major chord. But right when he lands on the root note, it becomes part of a different chord. Still a chord note, mind you, just not what you'd been led to expect.

Now if you hold the F# too long, into the G chord, it won't sound quite right in the new triad (hey, this is the kind of back-to-basic Country music that doesn't hold with major 7th chords - just naked triads, thankyouverymuch).

The same thing happens on the Letterman video, but everything is a semitone lower - I guess time had taken its toll on Jones' voice.

Winslow Yerxa

Author, Harmonica For Dummies ISBN 978-0-470-33729-5

--- On Wed, 11/11/09, Robert Paparozzi <chromboy@xxxxxxxxxxxxx> wrote:

From: Robert Paparozzi <chromboy@xxxxxxxxxxxxx>
Subject: Re: [Harp-L] Re: Backing up a Singer (George Jones)
To: "jazmaan@xxxxxxxxxxxxxx" <jazmaan@xxxxxxxxxxxxxx>, harp-l@xxxxxxxxxx
Date: Wednesday, November 11, 2009, 9:36 PM


Hey David,

I felt it was on the virge of 'clashing' as a lead in note to the modulation
on the original version. To MY ears, if you sit on it too long it sounds
wrong. So when I played it I faded the note 'down' into the
modulation....just the way my ears were hearing it. But I agree with you
that McCoy's (or whoever it is) strong attack on that note kind of grows on
you!,-) Funny how our ears can play tricks on us!,-)

Best, Rob P

On 11/12/09 12:12 AM, "David Fairweather" <dmf273@xxxxxxxxx> wrote:

>>> I thought I'd post these links of George Jones...I
>> believe Charlie 
>>> McCoy is playing on the Hee Haw Video and listen to
>> the sparseness, 
>>> he only plays on one verse but the effect is superb.
> 
>>> George Jones on Hee Haw so this should be Charlie
>> McCoy on Harp
> 
> I've listened to that solo several times now and I'm still not sure what to
> think of the very last note of the harp solo as the rest of the band changes
> key.  Is it a clam or is it inspired?! :>  At first I thought it clashed.  But
> now I'm beginning to think it might be the best note in the whole song!
> 
> What do you think Rob?  I noticed that you faintly played the same last note
> on Letterman but you didn't commit to it the way McCoy did!  Were you unsure?
> 
> 
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All the best,
Rob Paparozzi

email: 
chromboy@xxxxxxxxxxxxx

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