Anyone out there got basic chords for Sweet Sue? I know this is a simple song, but for some reason I can't hear the chords. I've found versions on line with chords but they just don't sound right. I'm working on it in C but I'll transpose whatever you've got.
Ken.
Peace
Okay Ken - this is "Sweet Sue - Just You" by Victor Young and Will J. Harris in the Key of G in Cut time (2/2)
|:Am7 / D7 / Am7 / D7 / G / / D7b9 G / / / Am7 / D7 / Am7 / D7 D7b9 G /
D7b9 / G / / / D7 G / GM7/F# / G7/F / E7 / Am / Am7 / Am7b5 / D7 / Am7 / D7 D7b9 G / / C9 || G / / D7:|G / / /|||
As this is in 2/2, each chord is 1/2 a barr and each slash (/) is half a bar. The repeat goes back to the first barr then to the double pipes || to the last two barrs. Hope this helps ... This is a nifty song and is so bluesy for a 1928 movie theme. Nice tune.
Enjoy and Have fun
Mandola fever is permanent.
Dolamon, thanks a bunch, going to give it a try this afternoon. I had heard a great version of it in a swing jam session at a festival a while back, a great period piece.
Do you this on the mandola or mandolin? If you do it on the mandola what position do you start it in? Recently started a new mandola, more or less a copy of an H1. Got the sides done and the top and neck roughed out, will post pictures as it progresses and I can borrow a camera.
Ken.
Peace
I just remembered this site has Sweet Sue on it. This was posted here on the cafe' a few months ago and I think it's pretty close to the version I listed but MUCH more legible.
As far as where I play it ... wherever it has to be. It depends on which instrument I have around as - most jazz on big mandolins is done with double stops or in three note inversions. Sometimes I try to voice lead it with the bass line pushing the tune forward, sometimes I just try twinkling the melody with embellishments on the upper strings or higher on the fretboard. It really depends on who I'm (attempting to) play with.
I'd really like to see some pics of the construction of an H1 ... An observation - every early Gibson Mandola I've played or owned had problems with a neck bow or a settling top. The interior bracing of the top and some form of truss rod should be considered.
Mandola fever is permanent.
Yes, but the bridge is horrible with all that parallellOriginally Posted by (Dolamon @ Nov. 27 2004, 05:50)
movement. Your version is RIGHT, G with a descending bass line
preparing an E7 chord
Thanks again. Thanks also for your observations on the old Gibsons, Dolamon. The neck I don't see as a problem, two of the first mando instruments I built (early 1980's) were mandolas, one I still have and the other I had up till a couple years ago and the necks have stayed fine on those. On the early instruments I used 5/16th key stock for non-adjustable reinforcement, a little neck heavy, but again, no problems. On later mandolins I've used the square Martin syle tube, again with no problems. Both of those early mandolas were f-holes with tone bars though. On my oval soundhole mandolins I've been using just the simple transverse brace behind the soundhole and am happy with the results, but now I'm thinking about trying an x brace. I did re-brace a sunken cittern top a couple years ago using an x and really liked the tone. Will get some pictures up as soon as I can.
Ken.
Peace
On the descending part ("No one else it seems...), howzabout G...GM7...Bm7flat5...E7?
-archie
With the f in the bass you hve a good ear if you can tell
the bmin7flatf from G7/f (not to mention G9/f !)
But the b chord opens
up further possibilites scalewise, e.g., g Mixolydian
or e phrygian. Incidentally, I would devise, or improvise,
alternate blowing chords, to make the piece less monotonous.
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