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La-La (Means I Love You) - Bell-Hart (The Delfonics)
- Thread starter mididiot
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La-La (Means I Love You) - Bell-Hart (The Delfonics)
GregH3000
Well-known member
Formatting is off a bit, but my chords sync with yours. If someone could combine your chords with CyrilleB's formatting, I think that would be ideal.
Whenever I post a chart in this forum, there are usually four reasons for doing so:
1) The song is not available in the forum
2) It's a different version of the song
3) There are errors (chords and/or structure) in the existing chart
4) I just added additional information
For this song, the 3rd and 4th reasons applies, so please avoid re-posting a chart that is not accurate!
1) The song is not available in the forum
2) It's a different version of the song
3) There are errors (chords and/or structure) in the existing chart
4) I just added additional information
For this song, the 3rd and 4th reasons applies, so please avoid re-posting a chart that is not accurate!
GregH3000
Well-known member
This is what I come up with, but admittedly having to switch to a rock beat just to get the accented upbeats in bar 11 is kind of a disappointing trade-off.
CyrilleB, please don't take this personally. I agree with your reason 3 wholeheartedly with regard to structure, and reason four as well, but slight difference of opinion on the chords. I'm glad you took the time to fix the formatting errors in the first version as I used to play this song in my old band, and it was a pleasure to hear your chart.
La-La (Means I Love You) -- GH3K - Bell-Hart (The Delfonics)
GregH3000
Well-known member
Did you mean to post your preferred version?
)BOB
Just caught your message as I was posting; I knew you'd be after me!
2nd bar of the B section:
1st beat: E-7 (there's a minor 7th in that chord)
2nd beat: it actually sounds like a GM7/D because the strings are holding the G note on top of those four chords, but the rhythm section is actually playing a B-/D. So you can write it either way. But there is definitely no "E" note in that chord.
3rd beat: you can write it as a E-/C, but it's just like a CM7
4th beat: same thing as with the 2nd beat here. There's no "E" note in that chord. It's just a B-7.
1st bar of C section: both chords are minor 7th.
Tempo of the song is 85 or 86, definitely not 90
D9sus chords are the same as A-7/D
Either ways are fine, but with IRP (in general), it's better to use slash chords only when really necessary because of vertical spacing consideration (to avoid overlapping between lines)
1st beat: E-7 (there's a minor 7th in that chord)
2nd beat: it actually sounds like a GM7/D because the strings are holding the G note on top of those four chords, but the rhythm section is actually playing a B-/D. So you can write it either way. But there is definitely no "E" note in that chord.
3rd beat: you can write it as a E-/C, but it's just like a CM7
4th beat: same thing as with the 2nd beat here. There's no "E" note in that chord. It's just a B-7.
1st bar of C section: both chords are minor 7th.
Tempo of the song is 85 or 86, definitely not 90
D9sus chords are the same as A-7/D
Either ways are fine, but with IRP (in general), it's better to use slash chords only when really necessary because of vertical spacing consideration (to avoid overlapping between lines)
GregH3000
Well-known member
I can see most of your points as reasonable; I used the arrangement I had transcribed for my band, mostly because this Delfonics song is not particularly well known
(unlike, for example, the Carpenters' version of "Close to You" which I also did a chart for this weekend); in those instances, I'm like you and try to get as close to the hit recording as possible.
Tempo: Did we play it a little bit faster than the original? Probably, again, I just went with the way my friends and I used to play it.
A few other points, however, might be worth making just for the record:
I noticed that you had the "embellished chords" option checked and I never use that feature because I don't trust irp to do that for me, so I could see why you used straight major chords.
I would take issue with your saying Am7/D is the same as D9sus; yes, of course they are in the real world, but I personally find irp voices those two chords differently; the sus chords always seemed to be voiced in a higher register or inversion.
Your point about about avoiding spacing for slash chords would be reasonable if this was a difficult arrangement with very little space to spare, but it isn't here, obviously.
Good point about Em/C being CM7; I should have noticed that.
You didn't mention anything about my meter changes to get the accented upbeats, so Im going to assume you were OK with that.
Thanks very much for the feedback.
I can answer to a few points:
- Embellished chords are not saved individually for each song. I assumed it's a general setting for each styles. Mine is turned off for every styles. Just like you, I prefer to have control over the chords I write. You should check whether it's turned on or off for that particular style in you setting. Once it's turned off, every song using that style won't use embellished chords.
- Keep in mind that in IRP, C∆ is the same as C∆7. Both are Cmaj7 chords (1,3,5,7). You might as well use C∆ to save horizontal space when you have several chords in the a single bar.
If I write a C, it means it's just a major triad (1,3,5).
- Yes, you're right, the voicings are slighty different in IRP player between D9sus and A-7/D. But it's just different inversions. It's still basically the same. Also IRP doesn't play the same inversion every time for any given chord.
- About the meter change, that's your choice. In my opinion, since there's no way to reproduce exactly those quarter notes triplets with the player (even with a meter change), I'd rather make it simple and easier to read
GregH3000
Well-known member
Thanks very much, Cyrille, I am learning a lot today. I appreciate your taking the time for these very instructive comments!
