#16
|
|||
|
|||
Same here, key of A on electric. I didn't even know the original was in Bflat. I wonder what version I was jamming to back in the 80s?
|
#17
|
|||
|
|||
Why does it make a difference, though? It's just one fret up or down unless you're cowboy-chording it, right?
__________________
Martin HD-28 Eastman E10OM Guild D50 Martin D12X1AE LaPatrie CW Concert |
#18
|
|||
|
|||
The singer gets to pick the key. Usually A.
__________________
I don't have a bunch of guitars because they all sound just like me. 1984 Carvin LB-40 bass 1986 Carvin DC-125 two humbucker 1996 Taylor 412 La Patrie Concert 2012 American Standard Telecaster 1981 Carvin DC 100 Harley Benton LP JR DC Bushman Delta Frost & Suzuki harmonicas Artley flute Six-plus decade old vocal apparatus |
#19
|
|||
|
|||
Key of Bflat is physically rather tight. In that, A, E has more open strings.
|
#20
|
|||
|
|||
Hardly a “strict arrangement” kinda guy as:
1 - He really never played anything the same way twice. 2 - He used a different group of pickup musicians every night who had no idea what he was gonna do. |
#21
|
|||
|
|||
That's what's hanging me up, though -- I don't get why you'd need open strings to play Johnny B. Goode.
__________________
Martin HD-28 Eastman E10OM Guild D50 Martin D12X1AE LaPatrie CW Concert |
#22
|
|||
|
|||
Quote:
No “need” for open strings. Just preference! Physically easier/faster in general. -Also, open strings have the advantage of ringing/droning more. I found a complete list of Beatles songs arranged by key. Even they (and also the Rolling Stones) chose key of A for Johnny B. Goode. According to the list, the Beatles engaged the key of Bflat on only 4 of 230 (or so) recorded songs. I’ll take a wild guess and say Chuck Berry used Bflat to accommodate the horn players and not his voice range. |
#23
|
|||
|
|||
Quote:
He liked C for live performance (almost every time), but that's when he would naturally be singing with more power, able to push his voice higher. In the studio, Bb probably felt a little more comfortable, might have been the pianist's preferred key, and would certainly suit any horn players better than A major would.
__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#24
|
|||
|
|||
There were no horns on the original. It was likely more so for his piano player, Jai Johnny Johnson.
|
#25
|
|||
|
|||
That's what I heard, too. Johnson did the arrangements and Chuck's hands were so big that it didn't matter to him what the key signature was.
|
#26
|
|||
|
|||
Quote:
Open strings would make it a different song. Kinda Muzaky, in my humble opinion. (And the number of Beatles songs in Bb is irrelevant to this topic. Again, my opinion. Apologies.) |
#27
|
|||
|
|||
IMHO just find the key that best suits your voice and go with it. Audiences love this song regardless of key.
Have fun! |
#28
|
|||
|
|||
Flat keys are used loads in jazz and I believe that Chuck was heavily influenced by Charlie Christian(and T Bone),playing in a flat key would be no big deal.I`d play it in whatever key the vocalist requested.
|
#29
|
|||
|
|||
Quote:
As I said, although he liked C for live performance, he wanted to bring it down a little for the studio, and Bb was probably what Johnson preferred out of the other nearby choices: B or A, with Chuck not wanting to go lower than A. Likewise, having worked with horns in the past, Bb would be a familiar key.
__________________
"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#30
|
|||
|
|||
Yup, people love it. Just DONT fall into the cheesy cover band trap of playing the chorus wrong! Once you get to the five, it stays there, it does NOT go back to the four.
|