Q. Where can I find the piano sheet music for Something Special by Usher?
A. I know you didn't ask for the chords, you asked for the sheet music... but this is the best I could find. I got it at
http://www.ultimate-guitar.com/tabs/u/usher/something_special_crd.htm
I couldn't even find a site where you could BUY the sheet music (let alone print it out for free). Sorry! But good luck! If this doesn't do it for you - I hope you find it! ; )
SOMETHING SPECIAL - USHER
Fmaj7(2) Dm7 E7
Amaj7-Bm7-Dbm7-Dmaj7 E11 Amaj7-Bm7-Dbm7-Dmaj7 Dm7 Dbm7 F#m7(2)
Bm7(2) E11(2)
F#m7(2) Bm7(2)
Clearly, this is new for me
Dmaj7 Db7
Get excited when you're here, my dear
F#m7(2) Bm7(2)
Make no mistake you are all I see, sugar
Dmaj7 Db7
My vision's never been so clear
F#m7(2) Bm7(2)
We both know I been runnin so long
Dmaj7 Db7
This time I won't let me leave
F#m7(2)
Please be patient
Bm7(2)
Hesitation aside
Dmaj7 Db7
We're almost where we need to be
F# E11(2)
But in the meantime, let me say what's on my mind baby I...
Amaj7-Bm7- Dbm7-Dmaj7 E11
I think we've got somethin' special
Amaj7-Bm7 - Dbm7 - Dmaj7
Girl, you and me
Dm7 Dbm7 F#m7(2)
Together, we'll take over the world
Bm7(2)
You know I love ya
I need you so
E11(2) Fmaj7(2)
So happy I just wanna let everybody know
Amaj7
Think back to the time
F#m7
When I was scared to let it show
Fmaj7
Havin' too much fun with this and that one
Amaj7
Now that you're mine (huh yeah..)
Bm7 Dbm7 Dmaj7 E11(2)
Somewhere along the way, everything fell in place
F#m7(2) Bm7(2)
Oooohh...I'm so proud of how you represent me, baby
Dmaj7 Db7
Whether rockin' Armani, Dolce Gabbana, Roberto Cavalli, Louis, or Gucci,
F#m7(2)
girl
Bm7(2)
No matter what you wear, you do your own wit it
Dmaj7 Db7
I'll feel the same years from here
F# E11(2)
But in the meantime, let me say what's on my mind
Ooooh...listen
Amaj7-Bm7- Dbm7-Dmaj7 E11
I think we've got somethin' special
Amaj7-Bm7 - Dbm7 - Dmaj7
Girl, you and me
Dm7 Dbm7 F#m7(2)
Together, we'll take over the world
Bm7(2)
You know I love ya
I need you so
E11(2) F#m7
So happy I just wanna let everybody know
Amaj7 -Bm7- Dbm7-Dmaj7 E11
that I think we've got somethin' special
Amaj7-Bm7 - Dbm7 - Dmaj7
Girl, you and me
Dm7 Dbm7 F#m7(2)
Together, we'll take over the world
Bm7(2)
You know I love ya
I need you so
E11(2) Fmaj7(2)
So happy I just wanna let everybody know
Amaj7 F#m7 Fmaj7
(now you know now you know now you know)
Amaj7
(Now that you're mine )
Bm7 Dbm7 Dmaj7 E11(2)
Somewhere along the way, everything fell in place
Amaj7-Bm7- Dbm7-Dmaj7 E11
I think we've got somethin' special
Amaj7- Bm7 - Dbm7 - Dmaj7
Girl, you and me
Dm7 Dbm7 F#m7(2)
Together, we'll take over the world
Bm7(2)
You know I love ya
I need you so
E11(2) F#m7
So happy I just wanna let everybody know
Amaj7 -Bm7-Dbm7-Dmaj7 E11
I think we've got somethin' special
Amaj7-Bm7 - Dbm7 - Dmaj7
Girl, you and me
Dm7 Dbm7 F#m7(2)
Together, we'll take over the world
Bm7(2)
You know I love ya
E11(2)
girl I need you so
Fmaj7(2) Dm7 Amaj7
I never never let you go....no....
How do I make a song into a jazz song?
Q. Hey im having trouble on deciding on choosing a jazz song for music so I decided to change a song that I already know into a jazz song. I play piano and I'm going to sing to it but I dont know how to go about changing it as I've never played a jazz song before :O
Could someone point me in the direction of some jazz scales or how to go about creating the style?
Thanks heaps!
A. The cliche piano/voice duet sound usually revolves around adding extensions to chords, and adding subs, and extra leading chords into the progression.
Lets say for example you have a chord progression C Am Em G, which isn't an extremely uncommon chord progression in Pop tunes.
I would start by choosing some more interesting chords.
I would start by adding extensions to the chords: I would likely choose at first glance, Cmaj7#11, (C,E,G,B,F#), Am9 (A,C,E,G,B), Em7, (E,G,B,D), G7add13, (G,B,D,F,E). These are a little more colourful chords. Further still, lets say this progression repeats, so the G, goes back to C. Another colourful, and hip thing to do is to sub the dominant chord, (in this case G), with the Dominant chord, a tritone away from the fifth, G, so in C, this is a Db. It creates chromatic movement back to C, So I would like play G7, and then push a Db7 back to C.
Harmonizing the notes of the major scale introduces some more colourful chords, as well as an interesting harmonic idea, the functions of these chords. I find this chart helps me organize the function of chords in relation to tonic (T), sub dominant(SD), and dominant chords(D), in the key of C major,
Cmaj7 = T
Em7= T
Fmaj7 = SD
G7 = D
Am7 = SD
Bm7b5 = D
You now have potentially a whole tonne of possible harmonic substitutions to try:
Instead of Em7, you could try a Cmaj7 type chord with an E in the bass, (Cmaj7/E). Or instead of Am, you could try and squeeze in a Fmaj7 type chord. The possibilities are endless. With all this in mind, you must also consider voice leading.
A good arrangement might include a 'secondary dominant, (when functioning, leads to a chord other than the tonic' approach.
A good example would be to push a E7 sound (the fifth of Am) near the end of the measure in C, into the Am.
If you use some of these tricks, you might be able to get something good out of it, I find that if you are making a solo arrangement it is important to not be too 'floaty' with the changes, you can be more liberal in the sense that there is no rhythm section to contend with, but you still want people to hear the movement, and contrary to what some may think, sometimes it is better to play simple things right in the pocket, than to go nuts and try making something sound hip.
A good arrangement will also take into consideration the melody line. When you write it out, make sure that none of you chords clash with the melody notes.
The only real rule in jazz harmony I can think of is to 'avoid' the interval of a minor 9. Its not that you can't do it, it's just generally better if you don't. Exceptions to the m9 rule obviously include the use of chords like G7b9. But it is still considered the the most dissonant of all intervals.
You may also want to learn the Charleston Rhythm, depending on if you are arranging a ballad or a swing tune.
What's the differences between a chord progression and a melody?
Q. Thanks. Are they both the same some examples of classical music would be nice as well.
One of my friends says that they're both completely different.
Thanks
Joe
A. I think we all know that a melody is the tune - the series of notes that is played or sung by the solo part. A chord progression is the order of the choices of harmony, and is sometimes played by the pianist's left hand, and sometimes played by a multi-note instrument - piano, guitar, harp, etc. - and sometimes by three or more one-notes instruments. When you consider the Mozart flute quartets, the melody is most often played by the flute, and the violin, viola, and cello join to play harmony; the movement from one harmony or chord to another is the chord progression, or harmonic progression. If you consider the Bach Siciliano in g minor from the Eb major flute sonata, the harpsichord is playing the accompaniment, and the flute plays the melody. The chord progression is usually notated in Roma numerals indicating function, in classical music - you see things like I - V7/vi - vi - ii - V7 - I. In popular music, you usually see the chords themselves written, with no regard to their functional analysis: C - E7 - amin - dmin - G7 - C.
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