#1
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Bach T&F in Dm
A quick question for those of you who have some musical knowledge about J.S. Bach: Is that big chord after the first three phrases in the Toccata and Fugue in Dm a C# diminished with a D in the bass? Sounds like it to me, though the D might be dropped as the chord "expands".
That has got to be one of the fattest chords ever. So good... Thanks!
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#2
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C#dim7, D bass, resolving to D-.
It would never have occurred to me to even try to arrange the Toccata and Fugue, one of the iconic organ pieces, for the guitar. But, Gerhard has captured it relatively well, I think. He said it took him several days to transcribe. https://www.youtube.com/watch?v=X_AcYnDn0KI |
#3
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#4
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Thanks, folks. I love the video and left the following comment (with which you may or may not agree). "The smaller sound of this piece played on a guitar really accentuates the beauty of the melody and harmonies. A typical organ version is overwhelming (in a good way) in its thunderous power. Here we get something more delicate and hypnotic."
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#5
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In picking through the written music with my feeble reading skills, it looks to me that, other than the D in the bass, the chord in question is a stack of minor 3rds. i.e. a full diminished. Am I misreading it?
I've always understood a "dim 7" to be what would be called a "min7flat5" in modern chord theory lingo, two minor 3rds and a major 3rd (in that order from the root of the chord). In Dm it occurs naturally at E (E-G-Bb-D). Anyway, what makes it so cool in the T&F is that it is built on C# (Db) in Dm...which I think makes it D harmonic minor. It's just so good.
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#6
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min7b5 is "half-diminished". dim7 is a diminished triad plus a diminished 7th note.
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#7
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Melodic minor has a major 7 (C#) ascending. Hence, it could be either "harmonic" or "melodic" minor. The scale degrees are generally built on the harmonic minor. |
#8
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I see. I guess I've been using the terminology incorrectly. I thought the "dim7" referred to the naturally occurring "half diminished" chord on the 7th degree of the major scale.
Just to confirm I'm clear on the terminology, let me build my understanding of the two examples on a root of B: Half Diminished (or min7flat5): B-D-F-A Dim7 (or full diminished): B-D-F-G# Another cool aspect of the sound in the T&F is the lack of any tritones (without an intermediate 3rd) in the chord. I understand tritones were frowned upon back then. Most of the common voicings of these two chords on the guitar alternate minor 3rds and tritones, resulting in more compact fingerings, and a different sound. Stacks of 3rds can get one's fingers spread out in a hurry. I suppose just the opposite is true on a keyboard.
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#9
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No. B, D, F and Ab.
G is not a seventh from B. A is. Distinguish between the interval - 1, 2, 3, 4, 5, 6, 7 - and its qualifiers - major, minor, diminished or augmented. Quote:
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#10
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Got it...correct tones, wrong notation. Thanks...
Just a comment on chord voicings...not important.
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#12
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#13
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thanks for setting the record straight! I was in a hurry when I watched the videos, only had time to catch about 30 seconds of both videos, and after posting a quick response wondered if they were the same. I just remembered the Hii arrangement because his arrangement (don't know if it was the same arrangement or not) was published in Acoustic Guitar Magazine one (or two?) decades ago.
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#14
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That was amazing. He captured it so nicely, so so much technical prowess and fluidity. A whole other aspect to such a fine piece of music.
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Martin 00-18G; Waterloo WL-S; Furch: V1 OOM-SR, Green G-SR, Blue OM-CM; Tahoe Guitar Co.: OM (Adi/Hog), 000-12 (Carp/FG Mahog), 00-12 (Carp/Sinker Mahog), 00-14 (Adi/Ovangkol); In the night you hide from the madman You're longing to be But it all comes out on the inside Eventually |