Beat It On Down The Line Chords
Grateful Dead tabs Beat It On Down The Line guitar chords From: U270009@UNIVSCVM.CSD.SCAROLINA.EDU Beat It On Down the Line - Grateful Dead (Jesse Fuller) C F C Well this job I've got is just a little too hard C G Running out of money, Lord, I need more to pay, C F Gonna wake up in the morning Lord, gonna pack my bags, C A D G C F C I'm gonna beat it on down the line. Chords for Jesse Fuller - 'Beat It On Down The Line'. Play along with guitar, ukulele, or piano with interactive chords and diagrams. Includes transpose, capo hints, changing speed and much more. Yes I'll be waiting at the station Lord, when that train pulls on by, I'm going back where I belong. I'm going back to that same old used-to-be, Down in Joe Brown's coal mine. Coal mine, coal mine, coal mine, coal mine. Coal mine, coal mine, coal mine, coal mine. Coal mine, coal mine, coal mine.
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Let's say I've written a song with the chord progression I-IV-V in the key of A (just as an example). So, the chords I'm playing are A-D-E. When playing a lead over this rhythm, what notes do I need to stick to over each chord? That is, when playing an A chord, should I stick to the notes that compose the chord? Are there rules for which notes sound good over which chords?
When I move to D, are there notes I should avoid or continue?I'm asking because I have a melody I like and I'd like to back it with rhythm guitar, but I'm not sure how to choose chords (basically the other way around from how I asked the question, but I'd like to know both). I'm just starting to learn musical theory and I'm not sure the best way to phrase my question. There isn't one definitive answer to this question besides 'Try to be Paul McCartney.' That said, here are some guidelines that I hope prove helpful: Mix It UpDon't just use chord tones (meaning, notes that are in the chord you're playing at the moment) and don't just use non-chord tones. Non-chord tones will give your melody a sense of momentum and tension, while chord tones will give your melody a sense of stability and release. Of the chord tones, roots and fifths have the most stability, while thirds and sevenths strike a nice balance.
Too much of either is no good: too much tension and momentum, and you run the risk of your melody running out of control, which ultimately feels chaotic. Too much stability, and your melody will sound dull and boring. Voice LeadingThis basically means that your melody shouldn't jump around too much-a few big intervals are fine and can be really dramatic, but most of the time, your melody should stick to stringing together notes that are near each other.
Otherwise it's hard for the listener's ear to keep up.For example, say you're playing the A-D-E chord progression you mentioned. C# is the third of the A chord, and D is the root of the D chord (obviously). So a melody that plays the C# and then the D is employing voice leading.
Choosing ChordsSo you have the opposite challenge: to pick chords to fit a melody. As before, there's no one right way to go about this, but again, here are some guidelines:. Identify the notes in the melody that feel more stable as opposed to those that feel as though they have momentum and movement and use those to help inform your chord choices.
Identify the few notes with the most drama. These probably shouldn't be chord tones, but might resolve to chord tones. Chord progressions have their own momentum and stability. I chords are stable; V chords have momentum. You resolve a V (or V7) chord to its corresponding I chord.
Unless you absolutely know what you're doing, make sure your V chords resolve or the song will leave your listeners feeling unsettled.Example: 'Eleanor Rigby'Eleanor Rigby'-'Rig' and 'by' are both chord tones, and the melody lands on 'by' like a rock. That note is the root of the chord, and it provides a lot of stability for the melody, which is good because the next line is.' Picks up the rice in a church where a wedding has been'-'Rice' and 'church' aren't chord tones, and they have a lot of momentum.
Chords For Beat It
This line is almost like a roller coaster: 'Picks up the' is the initial ascent, followed by a briefly held point of tension on 'rice', then a quick fall, a quick rise, and then another briefly held point of tension on 'church', another fall, etc. It ends on 'been', which is a chord tone for the next chord (the IV chord). Stability and release after the tension and drama of the roller coaster. Paul knew what he was doing.I could go on, but it would take a long time, and this the main idea. Good luck, and enjoy the adventure of composition! I am not very good at theory, but I will leave my observations here. There are a few ways to approach this problem:Got melody, want chords.
Figure out the key in which your melody is in. Figure out the triad chords can you play in that key (for example Cmaj/Amin key: Cmaj, Dmin, Emin, Fmaj, Gmaj, Bdim). Carefully check your melody and use the chord based on the dominant notes, usually this is simply the note which is played on the beat.
When a chord is being played along with a melody, most melody notes which aren't in the chord will create 'tension' and will want to move toward one of the chord tones (generally the nearest). When a melody moves from a chord tone to a non-chord tone, tension will significantly increase; when it moves from a non-chord tone to a chord tone, tension will significantly decrease. While some chord tones may have a little tension associated with them, and so movement between chord tones generally has only a minimal effect on tension.Much of what makes music interesting is the creation and release of tension. Some pieces of create tension at the start of each measure and quickly resolve it, while others release tension and the start of each measure but then quickly impose it again.
In many cases, even playing the melody unaccompanied may create sense of tension and release; in melodies where that is true, one should generally try to place chords so that they fit the 'non-tense' notes in the melody. If a melody doesn't have a clear sense of 'tense' and 'non-tense' notes, it may be necessary to experiment.
On Down The Line Chords
Some melodies can be harmonized so as to create either a 'tense-relax' or 'relax-tense' pattern. @Nachmen: Some melodies stand alone just fine, but there are some songs where the melody line really would be nothing without the backing chords. The song 'I got lost in his arms' Annie Get your Gun has a melody which (key of D) starts 'd d D, d d D, d d D d E, e e E, e e E, e e E e e F#, g g G, g g G, g g G g A' each letter is one syllable; uppercase letters mark chord changes.
I can't imagine Irving Berlin having composed such a melody without having a harmonization in mind because there would be nothing to it-just a bunch of syllables on the first five notes of an ascending scale.–Jan 20 '16 at 18:45. I know this thread is old, but for people who find it via Google I want to add this article. It is fairly easy to read (theory-wise) and well researched.David Temperley, The Melodic-Harmonic Divorce in RockThe gist of the paper is rock music has two melodic modes: one where the melody tones agree with the harmony in a traditional way, and a second where the melody moves independently of the chords. It will take you several steps beyond a typical 'how to write a pop song' method of matching melody to chord tones with some embellishing non-chord tones.This is solid music theory analysis with zero condescension toward rock music. Here’s my response to the StackExchange question “Decide which chord to use”:Given that I, IV and V chords often work for most melodies, it is far easier to apply this same idea in the following manner: play the root notes at 1, 3 or 5 note intervals BELOW each melodic note played on the main down beats. These three melodic-bass note intervals will work for a large majority of the time, particularly for simple songs.
Most of all, you can use this simple scheme to identify the root notes by simply looking at and mirroring whatever note you’re playing on the right hand (with little or no mental effort).To find the chord, play the bass note and the notes at 3 and 5 note intervals ABOVE the bass note (or 1-5-10). After playing three or four simple songs (e.g. Traditional xmas carols) - preferably all in the key of C or C minor - you’ll quickly learn which melody-bass note intervals (including other note intervals) at specific times, places, and moods within a song.