Welcome aboard,and thanks for subscribing. Acoustic roots can apply to both dim. and half dim. Chords. Let’s look at C dim.7. C Eb Gb A (Bbb). The acoustic root is always found a major 3rd below the stated root of the diminished chord. In this case Ab. If we add the Ab as the root the chord would be called Ab7b9. Ab C Eb Gb A If my initial Chord was C half dim. C Eb Gb Bb, by placing the acoustic root Ab in the bass the chord would become Ab9. With or without the acoustic root these chords are interchangeable. For more information on this subject check out DIMINISHED CHORDS, where is the root, on my channel or at www.davidburt.com. 😎
Pleased you enjoyed it Lou. Once you understand you’re dealing in two different keys it’s not too difficult to understand what is really going on. Thanks for the great suggestion. The best to you in the New New. 😎🎶
The original handwritten score by Nelson Riddle for the 1951 Nat King Cole recording shows the key as Bb (with an E natural in the melody in the first measure).
Is there a question here? Without seeing the score I have no idea of the context. I do know that if you’re in the key of Bb the fist 3 notes of the melody are based on F, G, A. as as in F, G G, A A. It is quite Nelson Riddle in his introduction may have used an E natural if he was briefly playing in Bb Lydian.
@@davidburtstudio There is no question. The context is the 1951 recording by Nat Cole in which he sings "un" C "for" D "get" D "a" E "ble" E. That is the same notes as what you are calling "starting in the key of F and ending in the key of Bb" but Riddle showed the key signature for the whole song as Bb (I am not talking about the instrumental break).
Okay, now we’re on the same page. The song is written combining two different keys. Let’s go with the usual keys for this song of F and Bb. The arranger has three choices regarding the use of a key signatures for this song. Using F as the key signatures and when necessarily using accidentals when the music moves into Bb for the coda. Riddle, obviously took the second choice, using the key signature of Bb, which means in the opening bars he is forced to naturalize E in order for the song at that point to be in F. The 3rd possibility is each time the song moves into the other key, the arranger places a new key signature. That of course is over kill as you aren’t in any one key long enough to take that approach. Bottom line, it is the arrangers choice. The end result is the listener could care less what signature is used.
@@davidburtstudio Some people feel music comes "home" at the end so the ending key (in this case, Bb) represents the whole song. I prefer the new key signature to be written at the place in the middle of the song where it changes. A popular example is "Up Up and Away" sung by the 5th Dimension. The published paper sheet music shows the key changing every few measures.
Yes, many ways to work key as well as time signatures. The way these things are handled is at the description of the arranger. The better arrangers will keep in mind the musicians who have to read the score.
Interesting discussion on keys. Does it modulate from F to Bb, or is the whole song in Bb (as per Riddle) but starts on chord 5? On a more pedantic note, the bass note in bar 3 is G in the original Nat King Cole version, making the chord G13b9. So the sheet music transcription is incorrect.
Thank you for your comments. The key choices are entirely left to the composer. One would hope the composer will choose according to a friendly approach for the musician. The composer could have chosen no key signature using only accidentals when needed. I have seen an arrangement of this song written in 2 flats. As far as bar3, a G13b9 is certainly a great alternative. That would be labeled as a V of ii, then turning into a ii going to V etc. Thanks for taking the to write. 😎🎶
Thank you for subscribing. For my tutorials I play on a Knight piano, manufactured in England by Alfred Knight. For my piano solos I’m playing on a 7 foot 6 inch Kawai Grand. Pleased you found me, welcome aboard 😎
Thank you for the great analysis and explanations! I’m a new subscriber now.
Welcome aboard,and thanks for subscribing. Acoustic roots can apply to both dim. and half dim. Chords. Let’s look at C dim.7. C Eb Gb A (Bbb). The acoustic root is always found a major 3rd below the stated root of the diminished chord. In this case Ab. If we add the Ab as the root the chord would be called Ab7b9. Ab C Eb Gb A If my initial Chord was C half dim. C Eb Gb Bb, by placing the acoustic root Ab in the bass the chord would become Ab9. With or without the acoustic root these chords are interchangeable. For more information on this subject check out
DIMINISHED CHORDS, where is the root, on my channel or at www.davidburt.com. 😎
Thank you!
You’re most welcome. 😎
Such a great tutorial! I am eternally grateful. The composition is so complex. Thank you very much David, happy holidays 😎
Pleased you enjoyed it Lou. Once you understand you’re dealing in two different keys it’s not too difficult to understand what is really going on. Thanks for the great suggestion. The best to you in the New New. 😎🎶
The original handwritten score by Nelson Riddle for the 1951 Nat King Cole recording shows the key as Bb (with an E natural in the melody in the first measure).
Is there a question here? Without seeing the score I have no idea of the context. I do know that if you’re in the key of Bb the fist 3 notes of the melody are based on F, G, A. as as in F, G G, A A. It is quite Nelson Riddle in his introduction may have used an E natural if he was briefly playing in Bb Lydian.
@@davidburtstudio There is no question. The context is the 1951 recording by Nat Cole in which he sings "un" C "for" D "get" D "a" E "ble" E.
That is the same notes as what you are calling "starting in the key of F and ending in the key of Bb" but Riddle showed the key signature for the whole song as Bb (I am not talking about the instrumental break).
Okay, now we’re on the same page. The song is written combining two different keys. Let’s go with the usual keys for this song of F and Bb. The arranger has three choices regarding the use of a key signatures for this song. Using F as the key signatures and when necessarily using accidentals when the music moves into Bb for the coda. Riddle, obviously took the second choice, using the key signature of Bb, which means in the opening bars he is forced to naturalize E in order for the song at that point to be in F. The 3rd possibility is each time the song moves into the other key, the arranger places a new key signature. That of course is over kill as you aren’t in any one key long enough to take that approach. Bottom line, it is the arrangers choice. The end result is the listener could care less what signature is used.
@@davidburtstudio Some people feel music comes "home" at the end so the ending key (in this case, Bb) represents the whole song.
I prefer the new key signature to be written at the place in the middle of the song where it changes. A popular example is "Up Up and Away" sung by the 5th Dimension. The published paper sheet music shows the key changing every few measures.
Yes, many ways to work key as well as time signatures. The way these things are handled is at the description of the arranger. The better arrangers will keep in mind the musicians who have to read the score.
Interesting discussion on keys. Does it modulate from F to Bb, or is the whole song in Bb (as per Riddle) but starts on chord 5?
On a more pedantic note, the bass note in bar 3 is G in the original Nat King Cole version, making the chord G13b9. So the sheet music transcription is incorrect.
Thank you for your comments. The key choices are entirely left to the composer. One would hope the composer will choose according to a friendly approach for the musician. The composer could have chosen no key signature using only accidentals when needed. I have seen an arrangement of this song written in 2 flats.
As far as bar3, a G13b9 is certainly a great alternative. That would be labeled as a V of ii, then turning into a ii going to V etc. Thanks for taking the to write. 😎🎶
Terrific channel, new subscriber here!
What piano or you playing, it sounds wonderful?
Thank you for subscribing. For my tutorials I play on a Knight piano, manufactured in England by Alfred Knight. For my piano solos I’m playing on a 7 foot 6 inch Kawai Grand. Pleased you found me, welcome aboard 😎
subbed !!!
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