grumpyoldman
Well-known member
Now Jack, this isn't cheating, it's taking the team approach to problem solving, and we (in the forum) are your teammates!
Am9? Sounds like sh*t for a reason. It's wrong.You should give your ears more credit! The B in the top voice is right but my ear hears a diminished or dominant chord. It's also a weak sounding resolution, like an imperfect cadence, suggesting subdominant to tonic motion.
It's sounds a lot like the James Bond theme, which in this key would be Dm - Dm#5 - Dm6 - Dm#5. That's a strong clue. So lets try it over this song.
Simplifying to three note chords [DFA] - [DFBb] - [DFB] - [DFA] (which are easily played in 5th position on the G, B, and E strings) sounds great over the progression. [DFB] spells a G7 with no root. Makes sense too - G is subdominant in the key of D, hence our weak resolution to the Dm. Now lets look at the bass...
...and the bass is really supporting this idea - right with us for the first two chords, playing D - F - A (which is Dm), Bb - D - F (Dm#5, 2nd inversion). But note that just for the duration of the mystery chord, the bass is harmonising the horn melody with B-G-E-G (bass is playing a B, not a C) and not really supporting the harmony.
Even so, the G and B still suggests a G major triad and would be in a G7 chord anyway. The E in the bass line implies the added 6 for a G7/6. It could also be written as a polychord Em/G7 (EGB over GBDF).
Personally, for a guitar chart I'd either specify G7 (no root) 5th position because the voicing is so important (we need that A-Bb-B motion on the high E-string) or I'd simply write James bond triads.
In my best Jim Varney/Ernest impersonation - "Uh...whaaaat?" Or, (with reference unavailable at this time, and proper apologies offered as a result) "...what he said..."
In all honesty though, all of you on this forum amaze me with your knowledge!
I will sneak back into my hiding place now - good night all.
