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Norah Jones: Sunrise

Norah Jones


Imagine going to a Norah Jones concert and hearing all of your favorite songs from this amazing artist.

Norah Jones, born on March 30th 1979 in New York City, is one of the most popular contemporary and jazz-influenced singers of our time. She was a member of Wax Poetic before her debut album Come Away With Me. She can still be heard singing with them on two tracks of their release, Nublu Sessions.

Her debut album Come Away With Me was released in 2002 and sold 22 million copies worldwide. It won 5 Grammy Awards in 2003.

Here's one of my favorite songs written in 2004, with words and music by Norah Jones and Lee Alexander... Sunrise. With a 2/2 time signature, played in the Key of Eb, here are the chords.


Cm7 Bb Eb

Cm7 Bb Eb

Cm7 Bb Eb Abmaj9

  Bb      Cm7
Sunrise, sunrise
           Bb              Eb
Looks like mornin' in your eyes
         Cm7        Eb     Ab(add2)   Eb
But the clocks held nine fifteen for hours

Gm7      Cm7
Sunrise, sunrise
          Bb             Eb
Couldn't tempt us if it tried
             Cm7   Eb   Ab(add2)        Eb           
'Cause the afternoon's already come and gone


           Cm Bb6 Eb Ab
And I said hoooooooooo... (x3)
    Fm
To you


     Bb   Cm7     
Surprise, surprise
            Bb           Eb         
Couldn't find it in your eyes
         Cm7      Eb          Ab(add2) Eb
But I'm sure it's written all over my face
  Gm7       Cm7
Surprise, surprise
       Bb                Eb
Never something I could hide
       Cm7    Eb     Ab(add2)      Eb
When I see we made it through another day


          Cm Bb6 Eb Ab
And I said hoooooooooo... (x3)
   Fm
To you


Ab(add2)
 Now good night
                F/A
Throw its cover down
 Ab(add2) F/A
On me again
Ab(add2)         
 Ooh and if I'm right
            F/A
It's the only way
   Ab(add2)   Bbsus
To bring me back


Cm Bb6 Eb Ab
Hoo...        (x3)
   Fm
To you

Hoo...   (x3)
  Fm  Eb(add2)
To you 








"Jazz washes away the dust of every day life." -- Art Blakey
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Introduction to Modulation

Instant Transposer Software




Introduction to Modulation


By Raphael Crystal

It is sometimes necessary to move from one key to another in the course of a piece. This kind of harmonic motion is known as “modulation.” It should not be confused with transposition. While transposition involves taking a tune written in one key and playing it in another, modulation is the process by which you arrive at the new key.

Modulation is often useful when you are accompanying a singer or group of singers. Imagine you are accompanying the song, “My Country Tis Of Thee” in the key of F major. Our first example shows the last four bars of the tune:


F/CFA
E/CGBb
F/CFA
G/BbCG
A/ACF

Measure 2

F/CFA
G/CEBb
A/CFC

Measure 3

Bb/DFBbD
C/CFA
C/BbEG

Measure 4

F/ACF

For the last verse, to provide some variety, you might want to move to a new key. Typically, the move is up a half step. This doesn’t strain the singers’ ranges much, but it provides a bright, new sound. Here are the first four bars of the tune in the key of F sharp major:

Bar 1

F#/A#C#F#
D/A#D#F#
B/BD#G#

Bar 2

C#/BC#E#
D#/B#D#F#
E#/BC#G#

Bar 3

F#/C#F#A#
D#/D#F#A#
B/D#G#B

Bar 4

C#/C#F#A#
Double SharpC/BE#G#
D#/A#D#F#

The problem is how to get from the end of the tune in F major, as shown in our first example, to the beginning of the tune in F sharp major, as shown in the second example. This is an harmonic problem, which calls for an harmonic solution. The strongest, most direct harmonic movement is from a “dominant” chord (the chord built on the fifth degree of the scale) to a “tonic” chord (built on the first degree). This is known as a V-I progression. A dominant seventh chord may also be used, and this is called a V7-I progression.

To move from F major to F sharp major, we can use the dominant chord of the new key to point the way. Our next example shows the last two bars of “My Country ‘Tis Of Thee” in F major. After the final note, a C sharp chord has been inserted, which is the V chord of F sharp major. This establishes the new key, and the example concludes with the first two bars of the tune in F sharp major. The C sharp chord and the F sharp chord that begin the tune form a V-I progression. A little melodic phrase has also been added to guide the singers to the first note in the new key.

Measure 1

Bb/DFBbD
C/CFA
C/BbEG

Measure 2

F/ACF
C#/C#E#C# to B (V)
C#/A# to G#

Bar 1

F#/A#C#F# (I)
D#/A#D#F#
B/BD#G#

Bar 2

C#/BC#E#
D#B#D#F#
E#/BC#G#

If, instead, we want to move up a whole step to the key of G major, we can use a D chord, which is the dominant in that key. Or, as in our next example, we can use a D7 chord so the progression is V7-I. Again a melodic phrase leads to the opening note. Notice that in both of our examples the modulation has been achieved without adding extra bars to the tune.

This is the neatest way to do it:

Measure 1

Bb/DFBbD
C/CFA
C/BbEbG

Measure 2

F/ACF
D/CDF# to G = D7 (V7)
D/A to F#

Bar 1

G/BDG = G (I)
E/BEG
C/CEA
Bar 2
D/CDF#
E/C#EG
F#/CDA

We have been discussing the simplest form of modulation. In more complicated modulations a group of transitional chords may be involved, but almost always the dominant chord of the new key plays a major role.

If you would like to gain facility in modulation, you should become familiar with the V7-I progression in all keys. Our final example provides a pattern that can be extended up through all twelve tonalities. Practice it until it becomes automatic. When all of the dominants are (literally) at your fingertips, you will be ready to move the harmony in any direction.

C Major

GF/BDG = G7 to CE/GC = C

Db Major

AbGb/CebAb = Ab7 to DbF/AbDb = Db

D Major

AG/C#EA = A7 to DF#/AD = D

Eb Major

BbAb/DFBb = Bb7 to EbG/BbEb = Eb etc. 

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"Jazz washes away the dust of every day life." -- Art Blakey
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Takin' It To The Streets: Doobie Brothers

Photo of The Doobie Brothers from the front row

                                Take this message to my brother
                                                    You will find him everywhere
                                                   Wherever people live together
                                                         Tied in poverty's despair

Takin' It To The Streets was written in 1976. The words and music are by Michael McDonald, one of my favorite musicians. I love this moderately fast song. Here are the chords that I have highlighted in red. You'll find some simple chord charts on line but I think this one is pretty easy to learn. I'm a Doobie fan... are you?

Fm6/G      F/G C/G             D7/G  G7sus4
You don't know me but I'm your brother
Fm6    F/G   C/G          D7/G   G7sus4
I was raised here in this living hell
Fm6       F/G  C/G         D7/G G7sus4
You don't know my kind in your world
Fm6/G  F/G  C/G          D7/G   G7sus4
Fairly soon the time will tell
C    C/Bb F         F/A   Fm/Ab      G7sus4      C  C/Bb
You,    telling me the things you're gonna do for me
F/A                   Fm/Ab          G7sus4
I ain't blind and I don't like what I think I see 

C7/E     F6    D7-5/F#    C/G F/G
Takin' it to the streets
C7/E     F6    D7-5/F#    C/G F/G
Takin' it to the streets
C7/E    F6   D7-5/F#     C/G  F/G
Takin' it to the streets
C7/E    F6   D7-5/F#     C/G  F/G
Takin' it to the streets

Verse 2
 
Fm6/G     F/G    C/G     D7/G  G7sus4
Take this message to my brother
Fm6/G     F/G    C/G     D7/G  G7sus4
You will find him everywhere
Fm6/G     F/G    C/G     D7/G  G7sus4
Wherever people live together
Fm6/G     F/G    C/G     D7/G  G7sus4
Tied in poverty's despair
C    C/Bb7 F/A         Fm/Ab         G7sus4       C  C/Bb
You,    telling me the things you're gonna do for me
F/A               Fm/Ab             G7sus4
I ain't blind and I don't like what I think I see 

C7/E    F6    D7-5/F#  C/G F/G
Takin' it to the streets
C7/E    F6    D7-5/F#  C/G F/G
Takin' it to the streets
C7/E    F6    D7-5/F#  C/G F/G
Takin' it to the streets
C7/E    F6    D7-5/F#  C/G F/G
Takin' it to the streets 


Repeat and Fade

Basically I'm playing these chords:

G/AbDF = Fm6/G

G/ACF = F/G

G/GCE = C/G

G/F#CD = D7/G

G/FCD = G7sus4

Ending:

E/EBbC
F/DAC
F#/DFbC
G/EGC
G/FAC




You may be interested in the Hear and Play Drum Series


All the best,






"Jazz washes away the dust of every day life." -- Art Blakey
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Artist Spotlight: The Bee Gees

Barry Gibb
Cover of Barry Gibb


I had read the following article in one of my music magazines and have always enjoyed the sounds of The Bee Gees. Do you have a favorite song? Here's a list of the top ten songs, with article following:

1. Stay-in' Alive
2. To Love Somebody
3. How Can You Mend A Broken Heart
4. Night Fever
5. How Deep Is Your Love
6. Emotion
7. Jive Talkin
8. More Than A Woman
9. I Started A Joke
10. Islands in the Stream

The Bee Gees are the Brothers Gibb, and individually they are barry Gibb and his fraternal twin brothers, Maurice and Robin. Born in Manchester, England, they made their first public appearance in their hometown's amateur talent show at the respective ages of nine and seven.

In 1958 the Gibb family emigrated to Australia where they settled in Brisbane. The boys' flair for pop music flourished in its new setting, and a few spot appearance on radio and TV eventually won them their own weekly TV series. The songs they were singing particularly emphasized both melody and lyrics, and today those same qualities have become trademarks of their work.

Australia based Festival Records signed the Brothers Gibb and released their first single, "Three Kisses of Love," in 1963. By 1965 The bee Gees were the hottest group in the country. In 1967 they decided to expand their reputation internationally and they returned to England. During this period two new members joined their group - a drummer, Colin Petersen, and a rock guitarist, Vince Malouney. Their United Kingdom debut at the at the Saville Theater was a sellout. They followed up this appearance with performances throughout Europe and the United States, and their record sales moved into the multimillion bracket.

In 1969 the group broke up. Success had come quickly and had complicated their lives. Looking back at that period Barry recalled,"There was a time when I could walk out the front door and every car to the end of the street was mine."

After fifteen months of individual growth, the brothers re-united. "We had to get back together," said Maurice, "because the formula was between the three of us."

Today, with gold and platinum albums like Main Course and Saturday Night Fever to their credit, The Bee Gees are firmly established as one of our top pop groups, and they appreciate their success all the more for knowing they've tried the alternatives. They joke now about their growth. When Maurice was asked what had changed the most in their twenty years as a group, he replied, "... me losing my hair."

"It must be a drag to be a solo artist," Barry added, "because no one knows what it feels like except you. The three of us can celebrate success together."



How Can You Mend a Broken Heart (Chords)


Verse 1

[E] I can think of younger days, [Emaj7] when living for my life was
[F#m] everything a man could want to [E] do.
[G#7] I could never see [C#m] tomorrow, but [F#7] I was never told 
[B7] about the sorrow.

Chorus:

And, [Emaj7] how can you mend a broken heart, [F#m] how can you
stop the rain from falling down.
[A] How can you [B7] stop, the [A] sun from [B7] shining,
[F#m] What makes the [B7] world go [E] round.
[Emaj7] How can you mend this broken man, [F#m] How can a loser ever win.
Please [A] help me [B7] mend my [A] broken [B7] , [F#m] and let me [B7] live
[E] again,   [Emaj7]  [E]

Verse 2:

[E] I can still feel the breeze, [Emaj7] that rustles through the trees.
[F#m] and misty memories of day's gone [E] by.
[G#7] We could never see [C#m] tomorrow, [F#7] no one said a word<
[B7] about the sorrow.

Repeat Chorus:

Solo:    [Emaj7]  [E]

Repeat Chorus:


All the best,







"Jazz washes away the dust of every day life." -- Art Blakey
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At This Moment: Best of the 80s

Cover of "By Request"
Cover of By Request



 Success the second time around is the byword for this ballad of lost love, which was initially introduced with minimal success in 1981 on the Billy Vera album, "By Request." Its airing on a 1986 episode of the popular TV series "Family Ties," when Alex and Ellen break off their romance, prompted a deluge of 9,000 phone calls to NBC about the song. By January, it reached No. 1 on the charts, with sales of this single at  the half-million mark.

I play the song in the Key of F, moderately with 3/4 time signature.

At This Moment By Billy Vera

INTRO Dm7 - Am6 - Bb - F/A - Gm7 - Bb/C


F                Am/E                      Ao/Eb
What did you think I would do at this moment When you're standing before me,
Dsus4              D7
With tears in your eyes.. 
Gm7            C
Tryin to tell me that you,
Gm7           C
Found you another..
Gm7
And you just don't 
C6
love me, No more.. INTRO F - Fmaj7 - Bb - F/A - Gm7 - Bb/C

F
What did you think,
Am/E
I would say at this moment,
Ao/Eb
When I'm faced with the knowledge,
Dsus4                D7
That you just don't love me.
Gm7            C
Did you think I would curse you,
Gm7            C
Or say things to hurt you,
Gm7           C6              F
Cause you just don't love me no more..

Dm7                Am7
Did you think I could hate you,
Bb              F       
Or raise my hands to you,
Gm7           C       C/E   F
Now come on you know me too well.
Dm7       Am7
How could I hurt you,
Bb              F 
When darling I love you,
Gm7             Bb/C
And you know, I'd never hurt you..

F
What do you think,
Am/E
I would give at this moment,
Ao/Eb                                 Dsus4    D
If you stay I'd subtract twenty years from my life
D/F#            Gm7   C
I'd fall down on my knees,
Gm7                    C
Kiss the ground that you walk on,
Gm7            C6      F   
If I could just hold you again..

 


At This Moment By Billy Vera (online chart)

INTRO F# - Bbmin - Bmaj - Abmin- 


F#                 F/C#                      E
What did you think I would do at this moment When you're standing before me,
Eb7
With tears in your eyes.. 
Abmin            Db7
Tryin to tell me that you,
Abmin            Db7
Found you another..
Abmin 
And you just don't 
Db7
love me, No more.. INTRO F# - Bbmin - Bmaj - Abmin

F#maj
What did you think,
F/C#
I would say at this moment,
E
When I'm faced with the knowledge,
Eb7
That you just don't love me.
Abmin            Db7
Did you think I would curse you,
Abmin            Db7
Or say things to hurt you,
Abmin            Db7              F#  F/C#
Cause you just don't love me no more..

Ebmin                 Bbmin
Did you think I could hate you,
Bmaj              F#maj       
Or raise my hands to you,
Abmin           Ddmaj       F#  F/C#
Now come on you know me too well.
Ebmin       Bbmin
How could I hurt you,
Bmaj              F#maj Bb\F#
When darling I love you,
Abmin             Ddmaj
And you know, I'd never hurt you..

F#maj
What do you think,
F/C#
I would give at this moment,
E                                 Eb7
If you stay I'd subtract twenty years from my life
Abmin            Db7
I'd fall down on my knees,
Abmin                    Db7
Kiss the ground that you walk on,
Abmin            Db7      F#   
If I could just hold you again..

 
Abmin                Db7
I'd fall down on my knees,
Abmin                    Db7
Kiss the ground that you walk on baby,
Abmin           Db7
If I could just hold you..
If I, Could just, Hold you..
If I....If I could just hold you.
      F#  F/C#   E  B   C#  F#(HOLD)
Again.

Practice worship songs for your church service or music for your own enjoyment using the Song Robot Software





"Jazz washes away the dust of every day life." -- Art Blakey
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