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beach boys slash chords,7ths,9ths


Walters9515

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HOw can u songwrite using these Slash chords, 7ths,9ths, etc. like brian wilson did in the beach boys?

 

Even after going to music college and learned the theory of these chords i still can't songwrite using slash chords,7ths,9th.etc

 

Please look over these songs and the chords and what would u do or try to songwrites using these chords like the beachboys did?

 

Before i went to music school all my songs where just minor and major chords and even after music school i only just major and minor chords , how do u start to songwrite using these slash chords , 7ths,9ths like the beachboys did please?

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Don't Talk (Put Your Head On My Shoulder) (Brian Wilson/Tony Asher)

 

 

(original key: Eb)

 

Dm...Dm7.....Dm6/F.............E7

I can hear so much in your sighs

Gm6/Bb....A7+...Dm7/C...........Bm7-5

And I can see so much in your eyes

Bbm6........F/A............................Gm7

There are words we both could say

 

C7............................Gm7

Don't talk, put your head on my shoulder

C7.....................................Gm7

Come close, close your eyes and be still

Eb9..........................Bbm7

Don't talk, take my hand

........F+/A.................Bbm6/G./F./Eb.Db.F/C

And let me hear your heart.....................beat

 

Dm.....Dm7.......Dm6/F............E7

Being here with you feels so right

Gm6/Bb....A7+..Dm7/C...Bm7-5

We could live forever tonight

Bbm6.......F/A..................Gm7

Let's not think about tomorrow

 

Dm7...................G7/F

Listen, listen, listen

 

C/G...Fm6/Ab...Eb/G...Gdim...F/A...Bbm6...F/C...C7

 

C7..................................Gm7

But don't talk, put your head on my shoulder

C7..................................Gm7

But don't talk, put your head on my shoulder

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God Only Knows (Brian Wilson/Tony Asher)

 

 

 

A....E....A....E....A.....E/G#....F#m7....E..F#.G

 

D/A.............Bm6

I may not always love you

F#m...F#m7.............B/A

But long as there are stars above you

E/B............Cdim

You never need to doubt it

E/B......................A#m7-5

I'll make you so sure about it

A...............E/G#.....................F#m7..............E..F#.G

God only knows what I'd be without you

 

D/A.................Bm6

If you should ever leave me

F#m........F#m7..................B/A

Though life would still go on believe me

E/B...............................Cdim

The world could show nothing to me

E/B............................A#m7-5

So what good would living do me

A................E/G#........................F#m7......(A...G...A...G...) or (E..F#.G..A..B.C)

God only knows what I'd be without you

 

 

G/D...Em6...Bm..Bm7....E/D...A/E...Fdim....A/E....D#m7(b5)

D...............A/C#............................Bm7

God only knows what I'd be without you

 

D/A.................Bm6

If you should ever leave me

F#m........F#m7..................B/A

Though life would still go on believe me

E/B...............................Cdim

The world could show nothing to me

E/B............................A#m7-5

So what good would living do me

A................E/G#........................F#m7.............E/G#

God only knows what I'd be without you

 

A...............E/G#..........................F#m7.......E/G#

God only knows what I'd be without you

A...............E/G#..........................F#m7.......E/G#

God only knows what I'd be without you

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I Just Wasn't Made For These Times (Brian Wilson/Tony Asher)

 

 

Gm7/C........................Bbadd9....................Ab9....................Dm7/G

I keep looking for a place to fit in where I can speak my mind

Gm7/C...............................Bbadd9.....................Ab9.....................Dm7/G...G7(b9)

I've been trying hard to find the people that I won't leave behind

............Eb............Eb/F...................Dm7.........Gm7.....Dm7/G....................G7(b9)

They say I got brains but they ain't doin' me no good I wish they could

 

Cm7.............F6.....................Cm7......F6

Each time things start to happen again

..Cm7................F6......................Cm7..............F6................................F7

I think I got something good goin' for myself but what goes wrong

Cm7/G.....................F..............Cm7/G..................F

Sometimes I feel very sad, sometimes I feel very sad

Cm7/G.....................F............Eb...A7+5...Dm7/G...G7(b9)

Sometimes I feel very sad

Cm7......F6/C..Cm7.................F.............Bb/C. /Bb. /Ab. Gm7

I guess I just wasn't made for these times

 

Gm7/C.........................Bbadd9...........Ab9.........................Dm7/G

Every time I get the inspiration to go change things around

Gm7/C..................................Bbadd9.........................Ab9.............................Dm7/G...G7(b9)

No one wants to help me look for places where new things might be found

Eb...................Eb/F.................Dm7................Gm7..........Dm7/G....................G7(b9)

Where can I turn when my fair-weather friends cop out what's it all about

 

Cm7.............F6.....................Cm7......F6

Each time things start to happen again

..Cm7................F6......................Cm7..............F6................................F7

I think I got something good goin' for myself but what goes wrong

Cm7/G.....................F..............Cm7/G..................F

Sometimes I feel very sad, sometimes I feel very sad

Cm7/G.....................F............Eb...A7+5...Dm7/G...G7(b9)

Sometimes I feel very sad

Cm7......F6/C...Cm7.................F.............Gm7/C....Bbadd9....Ab9....Dm7/G..G7(b9)

I guess I just wasn't made for these times

 

Cm7....F6......Cm7.............F6............Cm7

I guess I just wasn't made for these times

Cm7....F6......Cm7.............F6............Cm7

I guess I just wasn't made for these times

Cm7....F6......Fm6/Ab.......G7...........Ebm6/Gb

I guess I just wasn't made for these times

.........................F6..............................Cm7

I guess I just wasn't made for these times

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It helps if you understand the voice-leading between the chords. For example, when you see a "Dm7/G...G7(b9)" this is similar to a G9sus going to a G altered dominant chord or in "Bb/C. /Bb. /Ab. Gm7" there is a descending bassline leading to the root G in the last chord.

 

"Slash chords" are simply inversions which are quite common in classical music. They see chords as horizontal creations (simultaneous melodies) rather than the way most guitarist think of chords - vertically. Guitarists tend to think of chords as being disconnected from each other, I think, in terms of the individual notes. They don't see the notes of the chord as individual voices.

 

Basically, a better understanding of harmony will assist in using these chords. Being well versed in playing these chords will also be of assistance. Chords need not be in root position, the way many guitarists learn them. If you can play all the mentioned chords, you can study how they move to one another. This is not always easy to see on the guitar, as it is on a keyboard instrument (which I suspect Brian Wilson composed with, but I'm not sure about that.) As far as writing a good song with them, if someone on a message board could answer that, we'd all be very rich.

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EDS

 

1.) How does brian wilson use the SLash chords in these songs? does he just use a half or whole step below the next following chord to connect them voice leading them?

 

2.) From looking at these 3 songs how do u think brian wilson uses Slash chord notes?

 

3.) How does brian wilson add the 7ths and 9ths to chords? Do u think he wrote the song with just the major and minor chords without the add colour 7th and 9th and added them after to make voice leading?

 

4.) When playing these songs on the piano the Slash chords seem just subtle difference then in root position but whats the EFFECT of there function in what brian wilson is trying to do with slash chords? to do what with them? to connect the bass notes of the chords to the next following chord better so its more smooth and has passing notes using slash chords?

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1.) How does brian wilson use the SLash chords in these songs? does he just use a half or whole step below the next following chord to connect them voice leading them?

 

Sometimes, but not always. You can see that was well as I. In this example, you can see the slash chords generally have a diatonic bass note leading to the next chord.

 

Dm.....Dm7.......Dm6/F............E7

Being here with you feels so right

Gm6/Bb....A7+..Dm7/C...Bm7-5

We could live forever tonight

Bbm6.......F/A..................Gm7

Let's not think about tomorrow

 

 

2.) From looking at these 3 songs how do u think brian wilson uses Slash chord notes?

 

This is an impossible question for me to answer. I think he probably uses them when they sound good to him.

 

 

3.) How does brian wilson add the 7ths and 9ths to chords? Do u think he wrote the song with just the major and minor chords without the add colour 7th and 9th and added them after to make voice leading?

 

I would have to listen to the specific songs. They probably are added as "color" but sometimes melodic considerations come into play (i.e., if the melody has the 2nd scale degree, a 9 chord might be used.)

 

4.) When playing these songs on the piano the Slash chords seem just subtle difference then in root position but whats the EFFECT of there function in what brian wilson is trying to do with slash chords? to do what with them? to connect the bass notes of the chords to the next following chord better so its more smooth and has passing notes using slash chords?

 

Again, sometimes they are used to smoothly connect chords. They function of the chord depends on the context.

 

I think you are over-intellectualizing it. If I had to guess, I would say that Brian Wilson used chords and inversions that are pleasing to him. I would learn to play these chords all over the fretboard and experiment with them. If you are dealing with 7th chords on the top four strings, there are 4 possible permutations (inversions) of the chord. If you do this with every diatonic 7th chord in the chord, you'll start to see the connections between the chords. I come from a jazz background - being able to play any chord in any inversion is essential.

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Have a look at the melody of the song and how it follows the chords. Break the chord in question up into its four notes and watch the melody lead one chord onto the other.

 

Slash chords are the chord + the bass note. Play the bass note with the melody and watch that relationship.

 

This exercise could give you some insight into melody/chord relationships.

 

I agree with EDS and would assume that Wilson wrote these songs on piano where slash chords (bass + chord) are used more often than guitar. A common slash chord movement is Gmaj > F#/Gmaj > E/Gmaj. The bass notes commonly follow the bass line.

 

Sorry for the rambled response. Hopefully the exercise will help.

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ya i am having trouble writing songs with 7ths and 9ths and slash chords

 

How would i begin or know how to use them when songwriting?

 

Where would i begin to start to know how to use these types of chords?

 

 

1.) How does the LEAD melody line (lead vocal) function with the added "color notes" ?

 

2.) Like do u take the Lead vocal melody and then add voice leading 6ths,7th,9ths, slash chords to just add voice leading?

 

3.) What kind of basic voice leading does brian wilson use when using these

6ths,7ths,9ths and slash chords?

 

4.) What is the basic voice leading theory when using 6ths,7ths,9ths and slash chords ? what are some rules to follow?

 

5.) Do u think he just use 6ths,7ths,9ths and slash chords just to add MOVEMENT and to CONNECT the following chords together more?

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With chords like that I tend to just figure them out. I start by hearing a melody in my head, or start a progression, then I try a bunch of chords and bass notes until it sound right. Watch some classical guitarists on youtube, you'll see how their approach to slash chords is such a fundamental part of what they do, it should broaden your mind away from the basic rock theory we all know and love.

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A piece of advice: buy the Pet Sounds box set and the book here:

 

http://www.amazon.co.uk/Wouldnt-Be-Nice-Wilson-Frontier/dp/1556525079/ref=pd_sim_b_3/026-1475160-3714006

 

The box set book has a lot of little musical notes in it that may not help you play better but it will help you understand Wilson and what he did better. I'm still baffled by the chords employed but that's why he's still an absolute genius and I'm not :) Both books aren't technical music books but they do give you a feel for what he did. They're very inspiring to me.

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i was going to suggest the same as EDS and cmog - that Wilson wrote these songs on piano,

and also agree with...

 

i would imagine it's a thousand times easier both to understand what he's doing on piano and also to write this kind of stuff.

 

 

i sometimes write on piano and there are certain chord shapes/transitions that just seem natural... or easy to make - for example only changing 1 or 2 notes from chord to chord (example below)

(i should probably point out that i've never had any formal training; though i'd like to think i've picked up some theory along the way.)

 

this short piano eg. will hopefully illustrate how effective it is altering just 1 or 2 notes in a triad to move from chord to chord

 

move from Em (EGB) > G/D (DGB) > Dm6 (DFB) > Dm (DFA) etc

 

Em (EGB) > C/E (EGC) > Am/E (EAC) > F6(no3) (FAD) etc

 

a similar approach works with guitar chords - keeping certain notes common during chord changes

 

eg.1 - this selection of chords works well in various orders

 

. G Dadd4/F# .. Em7 Cadd9 G/B A7sus4

--3---3----------3---3-------3---3---3---------

--3---3----------3---3-------3---3---3---------

--0---2----------0---0-------0---0---2---------

--0---0----------2---2-------0---2---2---------

--2---0----------2---3-------2---0---0---------

--3---2----------0--------------------------

 

eg.2 as does this selection...

 

. C G6add4 ... Am7 . Am Am/G .. Fmaj7/A .. Fmaj7/C D9/F#

--0---0--------0----0----0-------0----------0--------0--------

--1---1--------1----1----1-------1----------1--------1--------

--0---0--------0----2----2-------2----------2--------2--------

--2---0--------2----2----2-------3----------3--------0--------

--3---2--------0----0------------0----------3--------0--------

------3------------------3----------------------------2--------

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also...

 

eg.3 there are certain chord shapes that can be moved up and down the neck giving interesting voicings

 

. C .... F/A .... E ... E*

-3-------------0------4---

-1-----1-------0------0---

-0-----2-------1------4---

-2-----3-------2------2---

-3-----0-------2---------

--------------(0)---------

 

*this chord is used in Smashing Pumpkins 'Thru the Eyes of Ruby' in the 2nd, 4th, 5th and 7th positions with the open B ringing.

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I have no knowledge of how Brian Wilson writes these lines. But I suspect he writes the parts as harmony lines - possibly singing them. Since the Beach Boys' vocal harmonies were key to their success, it seems likely to me. If you play a melody vocal line along with 3 or 4 vocal harmony parts, stopping to hear how each harmony line forms chords, then chart the chords so a player reading a lead sheet can duplicate it, you would probably end up with what you see as the chord voicings.

 

I agree that it's much easier to both see this and write this on a piano. Remember that Brian Wilson had sand brought in and placed under his piano for the ambience he "needed" so he could write what he did?

 

That's just one of the reasons I wish I had taken piano lessons as a kid. I would understand that stuff a lot better and more intuitively than I do.

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i still don't understand about the voiceleading he uses for 6ths,7ths,9ths how does he use them?

 

 

As I wrote in my previous post, try isolating each line and sing it. You'll hear it, and it may bring back memories from your past in school or somewhere else. I've sung in church choirs most of my life, so I see and hear this type of stuff more often than many people do.

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