NZGuitars.com

possibly my favorite vocal performance of all time, it's magic this
I also very much enjoy how the band don't rush
the outro is probably climatic

Key = G major
this recording is from the Definitive Collection - Otis Redding WEA 1992

form of the tune could be looked at as 8 bar phrases or 16 bar sections where 13-16 alternate/differ.
I have put it into 8 bar chunks

(4 bar horn intro)

section 1
/G maj / E m / A m ? D7 / G maj / F maj / E m / E m /

look at bar 6 Borge what is this?

section 2 / Am / Am / D7 / D7 / Bm / Bb / Am / D7

again, look at the 6th bar of this section.

section 3 is the same as section 1

section 4
/Am / Am / D7 / D7 / G maj / C maj / G maj / G maj /

bridge is these 16 bars
C / C / Bm / Bm / Em / Em / Am / Am / C / C / Bm / Bm / Am / Am / Am / D7 /

next 8 bar section is the same as section 1 and 3

last section before unison outro goodness is
/Am / Am / D7 / D7 / Bm / Bm / E m / Em /

outro starts with A, up a tone to B then chromatic to lead into Gmaj / F / Em / Em /

this is a great tune to hear how a good band can make a good vocal great.

Great song. You have cool taste! For a looong time, I thought it was a Three Dog Night song.

Soul with a capital soul!!
[youtube]http://www.youtube.com/watch?v=dael4sb42nI[/youtube]

I loved this version I heard in the Movie 'Duets", also.
[youtube]http://www.youtube.com/watch?v=C0kpA9gNB4Q[/youtube]

thanks Rog

as I recline dressed in my Arsenal shirt, playing my L2 STEINBERGER whilst composing the score for the bio-pic of Sue Bradford, I agree I have cool taste.

foal30 wrote:
section 1
/G maj / E m / A m / D7 / G maj / F maj / E m / E m /

look at bar 6 Borge what is this?

The last two bars are Emaj.

I'd call the F a bVII borrowed from the parallel minor (G minor), not sure what I'd call the Emaj (a VI). it does set up a nice descending chromatic line (A > Ab > G or 2nd > b2nd > R) which i think is the point of it.

you can hear the same I bVII VI progression snippet in 'drain you' by Nirvana, under the 'I like you' lyric at the end of the chorus, it's power chords but implies the same triads to me. I'm sure there's much better examples, it's a familiar sounding prog. but that's what came to mind while I'm on early 90's examples: 'Creep' by Radiohead (G > Bm > C > Cm) also has a nice descending chromatic line within the harmony: E > Eb > D.


Section 2 - the Bb is an Em, making Em > Am > D7 (> G ) a classic vi ii V7 I

Bridge is:
C / C / B / B / Em / Em / A / A / C / C / B / B / A / A / Am / D7 /

Check out ibreathemusic.com theres a forum with no gear talk strictly technique, theory, composition, ear training, improv. ect Guys really know their stuff there, i just make it up as I go

agree with the end of section 2
Dunn's note selection of Bb gives a good descending push
it's sounds a bit like tri-tone substitution

not quite sure what you mean by the descending bit in section 1?
although if the last 2 bars are E maj I think I might understand.

I have a look at that site thanks