[thechat] ice cream songs

[Martin Burns]

On 17 Jan 2006, at 18:32, Canfield, Joel wrote:

>> If you're in A, then you can swap:
>> F#m for A
>> Bm for D (Bm7 ideally as then it's nice and dubious,
>> *especially* in 1st inversion ie
>> with the D as bass).
>
> uh, dinna get that; nagrom was talking about the similarity of the ii
> and the IV making both acceptable for the 'ice cream' progression. Not
> clear on how your comments relate. (I realize it's me, not you.)

Yeah, because if you're in A, then D is IV, and Bm is ii.

If you make it ii7 (Bm7) then you've got that A in the chord, so your  
listener's brains are trying to work out "Now, is this a wierd D  
chord with a B in it, or is it a wierd Bm with an A in it?" which is  
like the zebra's dilemma (Am I black with white stripes..?).

If your ii7 has a D in the bass, then it's leaning more towards the  
well wierd D, which is more confusing for the brain.

>> So your classic "end of the tune" cadence is V-I, which in G
>> is D-G. If you imagine each
>> note as a voice, then the F# *needs* to go up to the G. You
>> can make it a bit richer by
>> adding the 7th: V7-I: D7-G. In which case, the dissonance of
>> the C natural *needs* to
>> resolve down to the B.
>
> You had my right up to the C natural. Where'd that come from when  
> we're
> talking about D and G and F#?

If you're playing a D7 chord, then that 7 is a Cnatural, cos we're  
playing in G, which only has the one sharp (F#).

Try it on the geetar - your average D7 chord is:
Dstring: open D
G string: A (2nd fret)
B string: Cnatural (1st fret)
E string: F# (2nd fret)
right?

The big ugly dissonance is on those top two strings. You could strip  
the whole chord back to those two notes, and your ear would get it.

Now, compare the following options for the next chord (which is G in  
both cases):
B string: open B
E string: G (3rd fret)

and

B string: D (3rd fret)
E string: G (3rd fret)

So which feels more restful a transition from that nasty unstable  
tritone? The one where the 7th (Cnatural) falls.

Cheers
Martin

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