If Love Was All - a lush soul piece
Posted: Tue Feb 02, 2010 11:08 pm
For a video thing.. a very lush sounding classic R&B tune. ah the groove.
you can hear the synful strings in there.
ep from pianoteq (now my no brainer default)
cheap synth is Live's built in Analogue synth
drums are DSK mini drums, forgot which preset.. maybe an Alesis one.
Cm7 -> Bbm7 -> Eb7 -> AbM7 -> G7#5#9
Cm7 -> Bbm7 -> Eb7 -> Abm7 -> G7#5#9
Cm7 -> Bbm7 -> Eb7 -> AbM7 -> G7#5#9
Cm7 -> Bbm7 -> Eb7 -> AbM7 -> Db7
if you're curious. I really like the G7#5#9 with the #9 right next to the 3rd. (F, Bb, B, Eb) Easy to reach, and is a little less dramatic than the "claw" voicing that goes 3, 5, 7, 9. (B, Eb, F, Bb) Also, the last chord is the dominant 7th counterpart of the G7#5#9 since the #9 effectively adds a minor 3 to the G7, whereas even though the upper voices are the same, shifting the bass to D makes it a rather purer 7th. For some reason I figured out early on that for every 7#5#9 there's the regular dom 7 counterpart. In this case it's a great chromatic step back down the C. I mean, mechanically if the you do a 7#5#9 on the V, using the dom7 counterpart automatically lands you half note above the root, so it always works.
Also, the progression is sort of a variation on the classic:
Fm7 -> Gm7 -> Cm7 -> Bbm7 -> Eb7 (II or IV, III, VI, V, I)
You can see that the variation starts on the Cm7 forward. The key center is sort of obfuscated by starting on the Cm7, seems like it resolves to AbM7, but then resolves forcefully back to the Cm7 via the G7. Or, you can forget about all the logic and say it's just a progression that's been darned used to death. lol
you can hear the synful strings in there.
ep from pianoteq (now my no brainer default)
cheap synth is Live's built in Analogue synth
drums are DSK mini drums, forgot which preset.. maybe an Alesis one.
Cm7 -> Bbm7 -> Eb7 -> AbM7 -> G7#5#9
Cm7 -> Bbm7 -> Eb7 -> Abm7 -> G7#5#9
Cm7 -> Bbm7 -> Eb7 -> AbM7 -> G7#5#9
Cm7 -> Bbm7 -> Eb7 -> AbM7 -> Db7
if you're curious. I really like the G7#5#9 with the #9 right next to the 3rd. (F, Bb, B, Eb) Easy to reach, and is a little less dramatic than the "claw" voicing that goes 3, 5, 7, 9. (B, Eb, F, Bb) Also, the last chord is the dominant 7th counterpart of the G7#5#9 since the #9 effectively adds a minor 3 to the G7, whereas even though the upper voices are the same, shifting the bass to D makes it a rather purer 7th. For some reason I figured out early on that for every 7#5#9 there's the regular dom 7 counterpart. In this case it's a great chromatic step back down the C. I mean, mechanically if the you do a 7#5#9 on the V, using the dom7 counterpart automatically lands you half note above the root, so it always works.
Also, the progression is sort of a variation on the classic:
Fm7 -> Gm7 -> Cm7 -> Bbm7 -> Eb7 (II or IV, III, VI, V, I)
You can see that the variation starts on the Cm7 forward. The key center is sort of obfuscated by starting on the Cm7, seems like it resolves to AbM7, but then resolves forcefully back to the Cm7 via the G7. Or, you can forget about all the logic and say it's just a progression that's been darned used to death. lol