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Posted: |
Jul 30, 2016 - 9:25 AM
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By: |
OnyaBirri
(Member)
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One effective device that George Duning seems to favor is the minor 13th chord.
In a minor 7th chord, the 7th interval typically wants to resolve down a half-step to the third of the subsequent dominant 7th chord. In a D minor 7th chord, for example, the minor 7th - a C - typically resolves down to a B - the third in a G7 chord.
Staying with the D minor 7th example: In extending the minor 7th chord to include the 9th, the 11th, and 13th, the B is included in the chord simultaneously with the C. The resulting tension, when combined with the right orchestration, produces a poignant, bittersweet sound.
Duning often uses this device in the more poignant passages of his scores.
If you have access to a piano or keyboard, you can play this chord, beginning with a D in the bass and playing every other white note above to a B. Bottom to top, D, F, A, C, E, G, B.
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I love this sound! Thanks!
Lukas
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Is this the note progression which is typically played on the harp within Duning soundtracks?
[please excuse my ignorance if I'm wrong - since I don't read or play music ... ]
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Posted: |
Jul 30, 2016 - 11:56 PM
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By: |
finder4545
(Member)
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One effective device that George Duning seems to favor is the minor 13th chord.
In a minor 7th chord, the 7th interval typically wants to resolve down a half-step to the third of the subsequent dominant 7th chord. In a D minor 7th chord, for example, the minor the 7th - a C - typically resolves to a B - the third in a G7 chord.
Staying with the D minor 7th example: In extending the minor 7th chord to include the 9th, the 11th, and 13th, the B is included in the chord simultaneously with the C. The resulting tension, when combined with the right orchestration, produces a poignant, bittersweet sound.
Duning often uses this device in the more poignant passages of his scores.
If you have access to a piano or keyboard, you can play this chord, beginning with a D in the bass and playing every other white note above to a B. Bottom to top, D, F, A, C, E, G, B.
Once I entered a bar for a glass of water. I was thirsty. The barman asked: what a kind of H2O? There is H2O with NaCl, with C12H22911, with CO2, etc. etc., mentioning 44 variants, complete with detailed formulas.
Barman, please! I only want a glass of water!
By now, when I want a glass of Duning, I put a disc and play it, leaving the music formulary in the library.
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Posted: |
Jul 31, 2016 - 9:48 AM
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By: |
OnyaBirri
(Member)
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I think the "Peter Gunn" track you're talking about may be "A Quiet Gass", the sharp four/eleven tending to be one of Mancini's late fifties/early sixties trademark sounds, as in one of the "Pink Panther" ballad tracks ("Champagne and Quail"?), which ends with a C6 in the left hand, B minor (first inversion) in the right: C E G A/ D F# B. One of my all time favorite chords.*
That is similar to the last chord on the Peter Gunn theme. The last chord is a F major 7 sharp 11, or a G chord over an F chord, and then the French horns hit the sixth interval and slide up an octave. Combined with Shelly Manne's killer drum fill at the end, that is one of my all-time favorite endings on any track ever.
Yes, I think it is "A Quiet Gas." What is interesting is that while Mancini loved to end tracks with a major 7 sharp 11, it is interesting that this track includes the sharp root on the end. I guess that would be a sharp 15th? Not a term you come across very often.
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One effective device that George Duning seems to favor is the minor 13th chord.
In a minor 7th chord, the 7th interval typically wants to resolve down a half-step to the third of the subsequent dominant 7th chord. In a D minor 7th chord, for example, the minor the 7th - a C - typically resolves to a B - the third in a G7 chord.
Staying with the D minor 7th example: In extending the minor 7th chord to include the 9th, the 11th, and 13th, the B is included in the chord simultaneously with the C. The resulting tension, when combined with the right orchestration, produces a poignant, bittersweet sound.
Duning often uses this device in the more poignant passages of his scores.
If you have access to a piano or keyboard, you can play this chord, beginning with a D in the bass and playing every other white note above to a B. Bottom to top, D, F, A, C, E, G, B.
In major it is D F# A C E G# B. It's often called the "Stravinsky chord" because if its frequent use in the "Rite Of Spring". In jazz it's a D13 #11 chord. Often used as the end chord in big band charts due to its poly-tonality. Sometimes the 9th is sharped also for the Major/minor rub. Then it becomes a D13 #9 #11 chord. In short, an E major chord over a D7 chord.
It can also be found in the works of Debussy and Ravel.
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