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I’ve worked on this song for about 2 weeks, and I probably should have waited a week more before recording, but I still think this is a decent rendition. Inspiration comes from people like Clapton, Eric Bibb and Keb’ Mo’.
But mostly this is possible because of Brian’s lesson #187!
Hope you like it!- "Pretty Fingers Parker"
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Thank you!
I can add that I was trying to sing something out of my league earlier and accidentally recorded this piece with the guitar tuned down 1/2 step. So tuning is Eb and key is probably A (but in Eb tuning).
I don’t know about these theoretical things, but it seems very important to some people so I thought I’d just share that information! 👍🏻- "Pretty Fingers Parker"
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Beautiful blues Johan. Over the whole track it was harmonious and with a good chord change very interesting. This greatly enhances it. The sound was also very pleasant fit, with your finger-style technique, the track is very beautiful.
Play guitar just like you live; don't get bogged down in theory, it's just a tool without feeling.
Wilfried
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Thank you all for your awesome feedback! I think this is the first piece I’ve written that actually got some blues-ish roots even though it’s not a I-IV-V chord progression.
I’ll break the piece down for those that are interested and know a little bit of theory. Everything written below is reverse engineered and nothing I gave a thought while creating this. When I’m creating anything it’s just by ear and heart.The verse is I-ii-IV (A, B7, D), the “bridge” is vi-ii-IV (F#m7, B7, D), and chorus is iii-IV-I (C#m7, D, A).
So all chords in the song fall comfortably into the key of A. The “I-ii” chords following each other is something you can often hear Keb’ Mo’ do in his songs. An example would be “Perpetual Blues Machine”, and having just now listened to that song it’s clear that it was a well of inspiration for me writing this.Thank you all again!
/J- "Pretty Fingers Parker"
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Hey Johan, that song is so inviting! I’m going to try to play along, so I appreciate the clues.
Something I’m curious about, your Roman numeral notation lists the ii chord as minor, but it sounds like you play it dominant, a B7, as you named it. Did you have a purpose in showing it both ways? There are others, but that seems representative. I think you can play it either way if you hang onto the rhythm.
I really enjoyed this one.
Don D.
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Hmm true Don! I just automatically wrote like this because of my diminished understanding of music theory! Pun intended! 🙂
I seem to have this thing in my head where it’s written like this:
Major triad (I)
minor triad (ii)
minor triad (iii)
Major triad (IV)
Major triad (V)
minor triad (vi)
diminished triad (vii)It comes from when I once upon a time worked on harmonizing the Major scale.
What is the correct way of writing? Would be good to learn!I wish I was better at singing as well, because this piece seems to resonate among many of those that has listened to it. I’m trying to shamelessly blackmail people that can sing into lending me their voice. We’ll see if I succeed! 😉
- "Pretty Fingers Parker"
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First of all, yeah, it would be great if you found a singer. This is a great rhythm-melody, hit song material (well, maybe not, but that’s because the hits aren’t as good as this). Maybe add a bridge.
If you want to represent a B7 in A, that would be II7 (just accurately describe the chord). It’s outside diatonic harmony. I hope that clears it up.
Don D.
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