The Beatles: Oh Darling

English: Paul McCartney, George Harrison and John Lennon during a Beatles performance for Dutch television Nederlands: Paul McCartney, George Harrison and John Lennon tijdens een Beatlesoptreden voor de Nederlandse televisie. Hrvatski: Paul McCartney, George Harrison i John Lennon tijekom Beatles performansa za nizozemsku televiziju. (Photo credit: Wikipedia)

This is such a cool song, Oh darling!, with words and music by John Lennon and Paul Mc Cartney.
It's played slowly with a 12/8 time signature in the Key of A. Remember that an eighth note gets one count. Here are the chords to the song and I'll follow with slash chords afterwards.

E+
              A                          E
       Oh, darling, please believe me
       F#m                         D
       I'll never do you no harm
           Bm7                      E7
       Believe me when I tell you
       Bm7        E7         A       D  A  E
       I'll never do you no harm

       Oh, darling, if you leave me
       I'll never make it alone
       Believe me when I thank you, ooo
       BM7         E7               A       D  A A7
       Don't ever leave me alone

                                  D                  F7
                        When you told me you didn't need me anymore
                                   A
                        Well, you know I nearly broke down and cried
                                    B7
                        When you told me you didn't need me anymore
                                   E7                 F7-5     E7   E+              
                        Well, you know I nearly broke down and died

       Oh, darling, if you leave me
       I'll never make it alone
       Believe me when I tell you
       Bm          E              A    D A                             A7
       I'll never do you no harm - believe me darling

                        When you told me you didn't need me anymore
                        Well, you know I nearly broke down and cried
                        When you told me you didn't need me anymore
                        Well, you know I nearly broke down and died

       Oh, darling, please believe me
       I'll never let you down - oh, believe me darling
       Believe me when I tell you, ooo
       Bm7          E7              A        D  A  Bb7  A7
       I'll never do you no harm...
      

When I play this song, I'm pouncing on the chords, rock n' roll style with quick eighth notes.

Chord = l.h. notes/ right hand notes

E+ = EE/ G#EG#B# Oh

A = A/ AC#F# darling, please be-


E = E/ G#BE leave me

F#m = F#/ AC#F# I'll never do you no

D = D/ F#A harm, Be-

Bm7 = B/ADF# lieve me when I tell

E7 = E/ G#BE you

Bm7 = B/ F#DF# I'll never

E7 = E/ G#BE do you no

A = AC#/ A harm

A7 = AC#EG/ G When you

D =  D/ DF#B told me you didn't

F7 = F/ EbAC need me anymore, Well you

A = A/ C#EA know I nearly broke down and cried.  When you

B7 = B/ D#F#AB told me you didn't need me anymore Well you

E7 = E/ DEG#B know, I nearly

F7-5 = F/ EbFAB fell down and

E7 = E/DEG#B

E+ = E/ G#B#E  Oh,

A = A/ AC#F# darling, If you

E = E/ G#BE leave me,

F#m = F#/ AC#F# I'll never make it a-

D = D/ DF# lone, be-

Bm7 = B/ F#DF# lieve me when I tell

E7 = E/ G#BE you

Bm7 = B/ F#DF# I'll never

E7 = E/ G#BE do you no

A = AC#/ A harm

D = D/ F#A

Bb7 = Bb/ AbDF

A7 = A/ GC#E

Have fun playing this all time Beatles hit. Yes, I am an affiliate with musicnotes.com because I've been teaching for years and it's so handy to print music digitally and instantly for easy access. My students love it and there's such a variety of music available to play. They have lots of sales and free downloads, too.


All month long, save $2 on any Musicnotes order of $10 or more by entering coupon code ADD12 at checkout. Coupon expires on August 31, 2012 at 11:59 PM Central Time.

Best,
 





"The beautiful thing about learning is that no one can take it away from you." B.B.King

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Slash Chords

Slash chords


The left side of the slash, the numerator if you will, represents the chord. The right side of the slash, the denominator, represents a single note, usually played deep in the bass. Here's some examples:


C/G = CEG/C


C/E = CEG/E


Bb/C = BbDF/C


Here's a chord progression with an independent bass line. The gospel piano style typically features a separate bass line such as this:


C = CEG/C


G7/B = DFGB/B


F/A = CFA/A


C/G = CEG/G


F = CFA/F


C/E = CEG/E


G7/D = DFGB/D


C = CEG/ Low C


This next example shoes how much this bass line can influence a chord. Without the bass line all we have are five Cm chords and a G7. With the bass line added the sound really changes. This chord progression is found in such songs as "Blue Skies", "Feelings", "This Masquerade", and the introduction to "Michelle."


Cm = CEbG/C


Cm/B = CEbG/B


Cm/Bb = CEbG/Bb


Cm/A = CEbG/A


Cm/Ab = CEbG/Ab


G7 = DFGB/G


Often times the lowest note surrounded should be considered the root of the chord even when it may not seem logical. For example an F/G would function more like a G11 than it would any kind of F chord. An Am/D is really a D9 (with the F# missing.) Exceptions to this concept occur when the bass note is part of the chord.


Dvd resource: Jazz 101



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Chord Voicings- Which Chords with Which Notes?

Cover of Now He Sings Now He Sobs

* What Is A Slash Chord?

A slash chord is any triad played above a bass note:
D/C, Bb/C, F/C, and Ab/C are all examples of slash chords

* Improvisation:

Most young improvisers are taught that every chord has a scale to which it is married.
Try playing melodic lines over:

Slash Chord - Substitution For
E/C Cmaj#5
G/C Cmaj7(9)
A/C C7(13,b9)
Eb/C C7#9
D/C C7sus(9) (Dom or Maj7)
Bb/C C7sus(9)

* Arranging:

As composers and arrangers, we can easily fall prey to utilizing the same chord voicings over and over. Get yourself out of the funk by thinking in slash chords. Each time you invert the triad above the bass note, you'll get a different melody note in the lead voice.

* Add to Your Bag of Tricks

Hopefully this post has been an intro to using slash chords to your improvisation. Remember to experiment. I haven't covered all possible triad and bass note combinations... not by a long shot. Try developing a few of your own voicings to add to your bag of tricks. Then let me know what you come up with!

Two of my favorites are:
Gmaj7/C, which gives you a C Lydian sound and E7/C which gives you a C Lydian Augmented sound.

* GREAT Article by Gary Ewer (love this)

http://garyewer.wordpress.com/2009/04/07/which-chords-with-notes-harmonizing-a-melody

1. Every song needs a basic harmonic rhythm. It’s the frequency of the chord changes. For many songs, chords will change every four to eight beats. Determine what it will be for your own song. This usually means identifying the time signature for your song. If your song exhibits a continuous STRONG-weak-STRONG-weak pattern, you’re probably in 4/4 time.
2. Identify the key of your melody. Often the first and (especially) last notes of your melody will be the key note (tonic) of your song. Once you know the key, you’ll be able to identify the three chords that you’ll uyse the most: I, IV and V of that key (for example, in A major, you’ll find that A, D and E will be the chords that work best.
3. Chords will usually change on strong beats. This means that beats one and three of every bar of your song will be good spots for you to change chords.
4. Identify the melody note on the strong beat. Usually the note or two after it will also offer a good clue as to what the chord should be. Let’s say your melody has the notes A and C# at the beginning. These are two notes from the A chord, and it’s a safe bet to use that chord. But you’ll also find that the notes A and C# also exist in F#m, so consider that chord as well.
5. In general, your chord progressions will start on the tonic chord, then go to the IV-chord, moving on to the V-chord, then return to the I-chord. There are other chords you can use, of course, but that I – IV – V pattern will be a workhorse that will work well for you.
6. The faster your song, the less frequent your chord changes should be. Changing chords frequently in a fast song makes the song sound frantic, and so unless you’re looking for that effect, make chord changes less frequent in faster tempos.

* Suggested Playlist:

Kind of Blue- Miles Davis
Now He Sings, Now He Sobs- Chick Corea... listen to him on acoustic piano.
My Favorite Things- John Coltrane

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