IIRC it finishes with the best song on the album. Maybe second best.
TIL that Ozzy Osbourne is still alive.
Like fucking how?
He’s only 72, and he has said many times he wouldn’t be alive if not for Sharon in his life.
Passed on Billy shows in Vegas because figured it would be hot af at an outdoor venue. Tahoe this week got cancelled so now wishing I had gone. The Event Lawn at Virgin looks pretty cool.
Listening to a lot of prog rock from the 70’s. Incredible, underappreciated shit imo.
Hey so there’s another way to look at this one: Rather than Dm-C6-Bmb5 – if you consider what a 6 chord and half dim chord look like in inversions its easier to see how the chords function:
Dm - Am/C - Bmb5 (Dm/B) - last bar is C/G-C/B-C-A7/C#. But C6 is C-E-G-A, – which is Am7 (the diatonic 5 chord), and Bmb5 is Dm6.
So what you’ve got is i-v-i-v over some more interesting bass movement – which hey it’s more interesting than average sure. FWIW I’m not sure bar 4 is transcribed correctly. There’s certainly a C in the bottom of the guitar voicing but as transcribed here it doesn’t entirely work IMO.
One tilting thing from the Hookpad link:
Future Nostalgia is written in the key of D Dorian
Key of X Dorian is not a thing.
I’d probably always write this chord Bm7b5 given the context and never think of it as Dm/B or Dm6. I like Am/C there better than C6. In fact, I’m pretty averse to thinking 6th chords unless it’s a line cliche or clearly part of the melody since they can usually be written as inversions. But Dm/B seems peculiar to me given Bm7b7 is diatonic and the bass walks down to it. That’s how I hear it there anyway as opposed to i-v-i-v. I mean it just hangs there to my ear and sounds more like a subdominant?
I also wasn’t too confident in that 4th bar and would have to play it back while sitting at the keys to figure it out. Do you have any idea what’s happening in the jazz chord section?
Right that is tilting.
1 Like
Except it’s not diatonic, we’re in Dm. The 6 is the 5 of the 2 and it’s a super common substitution for half of the 1 bar. So yeah, seeing it as a half dim is fine, maybe preferable. It sits in your ear because its a little crunchy and it’s not diatonic. It definitely works.
‘Jazz chord’ part on this is something like
Dm | Cm7 F6 | BbM9 | A7b9 C#dim7 | D11 Dbdim7 | Cdim7 Gb9 F F13 | BbM9 | (no chord) G-G#-A
FWIW the stock changes work better for me, this is a bit fps iyam.
1 Like
Huh? If it’s built off D dorian then Bm7b5 isn’t a substitution.
I’m probably wrong but D Dorian 6 chord bm7b5 is also the v chord of E Dorian (bm7b5)? I haven’t listened to that song or paid attention to much more than the last few posts. I’m a drummer moron.
I love you guys for these types of discussions. I will listen to the song.
So, flat 5 in E would be Bb I guess. I’ll shut up now.
1 Like
3 Likes
Except it’s not in Dorian mode it’s in D minor. There is no melodic content in Dorian mode. In fact, the melody is all chord tones. The tune is not a modal tune at all.
The B in the bass isn’t enough to define it as such, that’s just the dominant of the 2 chord. You see it in tons of minor key tunes, its a hundred times more common than a chord built off (assuming D minor) the Bb.
All of this is why “the key of D dorian” thing is so tilting. It ignores both history and practice. It’s like the red headed stepchild of the worst thing in jazz pedagogy, chord-scale improvisation. Modal music is a specific thing, not a rubric for general analysis.
I listen to this one a ton.
Oh I see your position. You’re using a specific definition of modal as in the music that predated functional harmony tonal music. Chord-scale is something totally different as is the way mode/modal are interpreted in the context of folk and popular music. There are countless reddit threads of people just talking past each other about this and it never goes anywhere.