[Vince]

I love this piece, it was a trip recording this. From a gear standpoint, this is the green channel of my triple rec recorded direct.

 

[Dana]

nice job vince!

jesus christ there are some good players around here....wtf

 

[Boots-Paul]

Awesome. :metal:

 

[darren]

Wow… really beautifully played, Vince!

 

[Drew]

Nice, man!

 

[Cassidy]

Great stuff, Vince! But how come you left fourth chord out of the verse? That's kind of where the melancholy lives, for me.

 

[DonBot]

Well that was awesome. :metal:

 

[Vince]

Great stuff, Vince! But how come you left fourth chord out of the verse? That's kind of where the melancholy lives, for me.

Lee, you had me up the other night thinking about this. I got out of bed at 2 am wondering what I missed. I went back and messed with the recording a couple of times, and I think I know what you're thinking, but I think it's how I voiced it.

You're thinking in the pre-chorus the end of the line "And I find it kind of funny..." right? If I'm hitting the spot you're talkin about, I am leaving the bass note in the chord to the bass guitar, and I'm playing higher. I could have hit the bass note on the guitar, but by ringing out the open D-string instead, I felt it added a certain dissonance that I liked.

So no missed chord, but you made me rethink it and I lost sleep over it :lol:

 

[105]

Nice.

 

[Cassidy]

Lee, you had me up the other night thinking about this. I got out of bed at 2 am wondering what I missed. I went back and messed with the recording a couple of times, and I think I know what you're thinking, but I think it's how I voiced it.

You're thinking in the pre-chorus the end of the line "And I find it kind of funny..." right? If I'm hitting the spot you're talkin about, I am leaving the bass note in the chord to the bass guitar, and I'm playing higher. I could have hit the bass note on the guitar, but by ringing out the open D-string instead, I felt it added a certain dissonance that I liked.

So no missed chord, but you made me rethink it and I lost sleep over it :lol:

:lol: Sorry, mate!

No, it's the verses I'm thinking of. I'm not sure if you're playing it in the original key or not, but I'll use your version's key as a reference.

The chords on the verse in your version go Fm, G#, D#, D#. The verse in the original goes Fm, G#, D#, A#. The A# is unusual. If the key didn't change, that A# would be a minor chord, but the melancholy comes from it being a major chord.

Take the lyric "hello, teacher, tell me, what's my lesson? Look right through me, look right through me". In the original, the first 'look right through me' happens over the D#, and the second happens over A#. In your version, that line happens over D# both times.

Make sense?

 

[Vince]

I am getting closer to understanding what you mean, however the 2nd fret capo with the half tuned down is killing me here with the chord names

But yeah it's an F#m (open), G# (4th fret-stretch), D# (9th fret chord), but then I go to the A# with this chord:

E|-7---
B|-9---
G|-9---
D|-----
A|-2---
E|-----

I generally keep the root the same and don't convert back to the D# when I hit the last chord before it repeats., and if I remember correctly the Gary Jules version does, so maybe it's the next chord you're thinking. I keep the root the same on each repeat, what I do differently is alternate my harmony on the three notes that end the pattern and lead back to the F#m chord. The first and third time I do a quick 3rds harmony, the 2nd and 4th time, I run 3-2-0 on the high e string while keeping the B string open and plucking them both.

I probably was a little sloppy on the chord roots in a few spots though