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She Sings in Beauty

Discussion in 'Look Around: Sergio Mendes/Brazilian Music Forum' started by Rhymes with Music, Nov 6, 2017.

  1. Rhymes with Music

    Rhymes with Music New Member Thread Starter


    Whatever she sings (and says)

    is poetry

    Each time she moves

    is dance

    Everything she does is magic!

    As wonderful, pure, and radiant as she may be --
    She knows not how many and how much she has touched the hearts of

    She knows not

    how much and how many she inspires and brightens

    She sees not --

    the radiance that emanates through (and from?) her

    She knows not

    how much Love and joy she has given

    She knows not

    how much love there is for her
    But she has inspired, and is cherished and adored by so many.

    She has eyes for one man only,
    but Her voice belongs to all of us
    -- a voice which is so beautifully connected with her heart, and her soul

    She gives voice to what we cannot,

    and what we yearn for.

    A voice so pure,
    and like no other

    The greatest Musical instrument ever made!

    She sings in Beauty.

    Channeling so pure,

    radiating so far and wide

    She is a gift from Heaven

    Her notes are like golden raindrops falling from above

    Words fail to properly and fully express

    Impressions, Reflections, and Memories

    Though, one sad day,

    that voice may be stilled forever -- in this world
    Her singing will continue to ring throughout the heavens
    reverberating in the Astral plane

    The Eternal Pop (Samba-)Jazz singing goddess!
     
  2. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    Lately, when I hear much of my favourite music, I hear her singing voice in there -- weaving a beautiful golden thread through the notes -- and sometimes gracefully floating on top of what the instruments are doing. Flowing, drifting, gracing ...

    For example, take this chord progression that Dave Stewart (*) wrote:

    'A' Major 7 , "g#" min.7 , 'C' Maj. 9 ,
    'A' Maj.7 , "g#" min.7 , 'C' Maj. 7 , 'b' min. 7 , "E-flat" Maj. 9 --


    'D' Maj.7 , "c#" min.7 , 'F' Maj. 7 ,
    'D' Maj.7 , "c#" min.7 , 'F' Maj.7 , 'C' Maj. 9 , 'G' Maj. 9


    [​IMG]



    * Not the Dave Stewart who worked with Annie Lennox. But instead, the one who worked with Barbara Gaskin, as well as Mont Campbell, Phil Miller, Bill Bruford, and others.
     
  3. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    Dave Stewart's chord sequence, there (see above) is just wonderful. And the beauty of it inspires me - along with the sound of Her voice.
    But I am not sure about how exactly to voice those chords on the piano. If the piano is by itself, I want to hear the higher pitches (but my hands are only so large).

    measure #4, second chord (in treble staff -- for right hand)
    I notated an 'E' Major triad (as part of a "c#" min. 7 chord -- but 7th chords can be extended, to 9ths, even 11ths ; I wouldn't go beyond that to a 13th, in this case, though.)
    In the next measure (#5) it appears again, in the same place -- 2nd chord:

    But a possible voicing is : F#+G# + B + D# -- which can be interpreted as (right-hand by-itself) a "g#" min. 7 chord in 3rd inversion ("/F#" in bass)
    -- or, collectively (in conjunction with the root pitch, in left hand - bass staff), as a "c#" minor 11 chord?

    That leads to the 'F' Major -based chord.
    Notice in measure #5 - the top 'A' (The right hand voices an 'a' minor triad) -- That should move downwards to 'G', which is the '9' of the 'F' Major 9 chord. But instead of the pianist's right hand reaching for that with the pinky, the smooth honey-toned singer's voice should sing that pitch, there.
    That ?resolves? to 'C' Major 9 (with added '13' - 'A') (Like middle of "Festa"?)

    And -- as if that isn't good enough, another chord follows: 'G' Major 7 (possibly '9'?). Wow! Raindrops from heaven.

    The chord sequence (a cycle) can then start again, from the top.
    After the first two chords -- 'A' Maj.7 , "g#" min.7
    the third chord is 'C' Maj.9. But sometimes, I think an 'F' Maj. 7 (or 9) can work there, instead -- a substitution.
     
  4. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    Here's more:
    Call it -- "Suite: Lani Brown Eyes"

    On this famous song, Mr. Stills didn't use drop-'D' tuning on his Martin acoustic guitar(s), so the pedal point was 'E' --
    but I like to play it on the piano transposed down a whole-step to 'D' (which Stills used in other songs that he wrote around that time - 50 years ago, or so).

    Just establish the bass (left hand) pedal point as 'D' -- maybe adding a P5th 'A' above that to make a "D5" chord or something.

    and
    Right hand can play a simple succession of (mostly triads) chords that ascend:

    'C' Maj., 'D' Maj.,
    'e' min. , 'G' Maj. and F#+A+C (as part of "D7" chord?)

    Then, the vocal harmonies soar with a higher
    'C' Major triad, down to 'b' min. and 'a' min.

    'C' Maj. (2x) , 'a' min., 'C' Maj. (= 'a' min.7)
    and --
    'C' Maj.7, 'b' min. 7
    like Coltrane's "Lanima"!
     
  5. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    Speaking of that Coltrane composition (I know Herb and Lani like listening to Trane.) --
    a similar harmonic figure is used in this wonderful Jazz composition by the late guitarist Phil Miller called "Aigrette."

    The beginning minute of the piece has a nice wordless vocal melody that would be great for Ms. Hall.
    I have yet to figure out all of the chord changes, but I include the last two, before the "Naima"-like _hook_.
    Those two chords are: "f#" min.9 ; and C#/D-flat (dominant) 7 #9

    Those two chords then lead to the "hook" (as I call it), which is very catchy and sing-able --

    'E' is the pedal point in the bass, and the right hand plays minor and Major 7th chords of -- depending on how the relationships between these chords are interpreted and analysed, harmonically -- either the key of 'A' Major, or the relative 'b' dorian mode.

    Then, the same idea is modulated down a whole-step -- which means:
    'D' is now pedal point in the bass, and the right hand plays min. and Maj. 7th chords that are diatonic to ...
    'G' Major (or the relative Dorian mode in 'A').

    I suppose, the proper harmonic analysis of all that is, instead, seen more correctly in terms of Mixolydian mode, rooted on 'E', then 'D' . The modulation is back-and-forth between those two harmonic roots (tonal centres). A great example of Modal Jazz harmony.

    [​IMG]

    I notated the same basic idea in a few slightly-different ways.
    The bottom line (m. 12-16) are in the lower tonal centre of 'D'.

    The best recording I've heard of this is
    Hatfield and the North in Paris, 1973 Sep 25th.

    Just search Y.T. for "hatfield and the north paris 1973"
    34m02 mark:
    Youtu.be/lMuOff2dK04?t=2042
    At 34:52 mark is the "Naima"-like "hook" -- God bless Phil Miller, R.I.P. More people should hear that music.
     
  6. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    Here's a Beatle song that Sergio never did -- from the "White Album"
    The first movement has nice Jazz chords that are easy to play on the piano -- "She's Not a Girl who Misses Much"

    [​IMG]
    In the third measure (at top), I do a variation on those first two chords -- by extending them (stacking an additional 3rd on top of John Lennon's chords), starting with 'a' minor 9, and ("D7" in right hand, with 'A' still in bass).
    with the 'B' suspended over from the previous chord ('a' min.9). Maybe I should include an 'E' in that 2nd chord, there.

    The 2nd line begins with measure #5, which features the next two chords. These are all on white keys on the piano keyboard. In m. 8 I raise the C_natural to C#, making a Major tonality ("A7" chord).
    Unlike John Lennon, I want to return to the opening ('a' minor - based) chord, before I'd go into the next movement of John's song -- "I'm going down" -- which isn't notated here.

    As with the previous piano arrangement idea (see above), damper (sustain) pedal can be used, as well as rubato (flowing pulse). Floating, drifting, gracing - beautifully.
     
  7. Rhymes with Music

    Rhymes with Music New Member Thread Starter


    Another sequence of chords from "Aigrette" by Phil Miller ...

    [​IMG]

    The
    'C' Maj. 9 chord (with added 'A' , like: C + E + G+A+B + D) appears a bit earlier in that composition. But it also works after the "f#" minor 9 chord -- like in "Triad" by David Crosby, as well as "Who Needs the Peace Corps?" ("Phony Hippies") by Zappa.
    In a (more recent) interview, Phil Miller self-deprecatingly said that he just put/threw "some Jazz chords together."
     
  8. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    After the E7#9 chord (featured in the first two measures of the above excerpt from "Aigrette"),
    the first two chords -- if transposed down a whole-step -- are:

    [​IMG]

    And that could go in-between what is depicted in measures #2 and 3 of ...

    [​IMG]
    In measure #10, maybe add any combination of 'E' and/or 'F' to that chord (B-flat + D-flat + 'G' and/or 'A').
    'D' is the pedal point (harmonic root) which is sounded in the bass.
    End with 'F' Major 7, which is the "III7" of dorian mode in 'd' -- maybe voiced in 2nd inversion:
    C + E+F + A
     
  9. Rhymes with Music

    Rhymes with Music New Member Thread Starter

    I once conversed with a woman who listened to many of the great American Jazz singers and talked about how they used their singing voices as "instruments" -- rather than just being (thought of as) mere singers. Vocalists are just as much musicians as any instrumentalists, after all.
    I feel compelled to express my feeling that maybe Lani Hall's voice was one of the greatest musical instruments ever created.​
    Maybe she could sing the top line, with keyboard (piano, or organ) accompaniment (+bass / or left hand on keyboard).

    [​IMG]
    Notice the double || bar-line between measure #2, and the beginning of #3.
    I essentially notated the same idea twice, with some variations.
    Spot the differences!
    Let me explain:
    The 2nd measure (in the first pair) sounds more harmonically-"normal" (and is diatonic to the key that this passage is set in) -- the "E-flat"s have courtesy accidentals next to them, in order to emphasise the key/fundamental difference between measure #2, and its counterpart, which is m. 4. Measure 4 represents the way Mr. Campbell composed and played this (You can hear this music on the 2nd Egg album - Polite Force).
    The E is actually raised (E_natural). Also, the last phrase (four 16th notes) feature somewhat different pitches - comparing m. 2 and m. 4. Also notice how the bass line -- in that last quarter note of this measure (of 13 over 16!) goes up from "B-flat" to 'C'. That matches if a raised E_natural (as opposed to E_flat) is used - as is the case with the original (represented in m. #4).

    Also, I added a tenor voice to the fourth measure (bass clef staff) to represent a left hand organ line -- albeit, I added a scale-wise step B-flat when, instead, the last two 8th notes should instead be a single note of 'C' with the duration of a quarter note.


    These compositional passages/excerpts could have taken Lani's music into the 1970s to a new level beyond what she ever did with the famous Brasilian pianist -- and they would have been a beautiful extension of (not departure or break from) her most famous music.
     

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