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Topic starter
04/02/2007 10:05 pm
I found a new chord in a song called If You Could Read My Mind by Gordon Lightfoot. They call it a Dm6/F.
1 ---1--- F
2 ---0--- B
3 ---2--- A
4 ---3--- F
5 ---X---
6 ---X---
I think it sounds so dissonant. At first I was thinking it was because it's a minor (sad) and a 6th (sad). In the book it shows the bass player playing a F so why wouldn't they just call the chord F add flat 5? (note: on the song they actually put a capo on 2 so it would sound like a Em6)
"Nothing...can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts."
04/02/2007 10:30 pm
The correct (or most correct) name for the chord depends on whichever note of the chord is functioning as the root. If D can be heard as the root, then it has to be a D something, not an F anything. If D isn't present in the guitar chord, it will probably be played by the bass or another instrument. Otherwise there must be something in the context of the music to justify calling it D something without an actual D being present. But mistakes are becoming increasingly common these days even from respected publishers and there's no guarantee that their interpretation of the chord is the best one.
I think you meant F A B F, right? - judging from the tab. Apart from being a b5 chord (F A Cb F) it could also be F add #11- with no 5th, (It's common to omit the 5th) As always, the context determines the best name for the chord.
Topic starter
04/02/2007 10:51 pm
Hey FS, just edited it to read F on the high string. All I know is the guitar and bass are playing F as the root. Too weird they want to call it D anything.
"Nothing...can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts."
04/02/2007 11:28 pm
Well, the song is in G and it makes some sense to treat it as a v-I progression. The addition of the B note to the Dm chord is kinda cool if you can suspend that note to the G chord, the dissonance then gets instantly solved and the sweetness of that more then makes up for the sourness of the initial dissonance. Best would be if you can also get a D in somewhere and keep that one going during the G as well.
Dm6= D F A B
G= G B D
so:
D remains D
F becomes G
A dissapears
B remains B
Basically you take a classic progression (V-I), make the V minor, add even more tension with the added 6th and then solve the mess with the smallest of changes that has the biggest effect.
Just my two cents. :D
Topic starter
04/02/2007 11:32 pm
Well, they always play a G before and after the Dm6. I know I'm happy when it resolves because I'm cringing while playing it. I always look over at the lead guitar player (at band practice) and I shake my head no and he shakes his head yes so I keep playing it. Also in the song there's an A7sus4. I like the sound of an Am7 better because it goes to a happy D after it.
"Nothing...can take the place of persistence. Talent will not; nothing is more common than unsuccessful men with talent. Genius will not; unrewarded genius is almost a proverb. Education will not; the world is full of educated derelicts."