All my Loving

[acalan]

Was watching a"Hard Days Night "on you tube over the weekend.I Looked up All my loving on ultimate guitar.com.It's not really easy to play but it is a lot of fun .bass line is pretty accurate too. Try it. It's a triplet rhythm , bar chords ,I'm getting it .But it's fast. Really fast http://tabs.ultimate-guitar.com/b/be...g_ver3_tab.htm

[KCKC]

This is one of my favorite songs to play on bass!

Good luck!

KC

[acalan]

Yeah, the bass is fun to play ,It's real catchy,flows real smooth. The rhythm guitar is crazy .it's fun ,but I really don't do it right everybody should try it,it's not as easy as it looks on the videos

[String Tree]

John Lennon was everything you could want in a Rhythm Guitarist!

[rangercaster]

John and George were both great rhythm guitar players ... Paul probably wasn't too bad either ...

[Wally]

INteresting....for the chorus, I think that C#maj7 chord is incorrect. IT has been a long time, but I am thinking that that progrssion goes...
C#m7, then to Cmaj, C6 or Cmaj7--your choice (I like C6--but it has been a long time since I heard the song), and on to E. One could even use an Am7 there in place of those C chord options.

[acalan]

Wally ,check some of the beatle videos on you tube,Some show John playing guitar more than others.It's crazy fast the change from c#m to c#maj 7 slows me up .But I'm determined to get it eventually.The bass is fun to play on a 6 string. Pretty good stuff,if you ask me.Actually pretty complicated strumming. Everyone should give it a try. It's a lot more difficult than it looks

[Wally]

acalan, I can't listen to it right now; but I can't accept that thsi chord is any C#maj7. I just talked to a bass player who tells me that he is playing this over that chorus....

------------------------------------------
------------------------------------------
------------------------------------------
------------------------------------------
4--4---------3---3-----------------------
------4--4-----------4---4----0----------

This leads me to believe that the chords are C#m7, Caug, E.
Check it out. C#maj7 just doesn't get it done to my ear.

[Joe-Bob]

I don't think the TAB is in the right key, but the chorus would go from C#m on the word "lovin'" to G#7 with a #5 just on the word "send", and then to E on the word "you". My book has the song in F.

[jbmando]

It's C#m to C#m(maj7)/C to E. You can call it Caug there instead of C#m(Maj7) - same notes. Hal Leonard has a C+ there. It is neither C6 nor Cmaj7. A G#7#5 sounds kind of cool, but for the whole chord, starting on "I" not only "send." The bass moving down chromatically is what you should shoot for. C#m > C#m(maj7)/C gets it done.

[jbmando]

BTW, I just checked the tab. It doesn't say C#maj7. It says C#mmaj7. I prefer to put the maj7 in () so you can see the m in C#m.

[acalan]

I might be wrong what I said (c#min to a C#ma7).My point was to try to play it . It's fun ,but crazy fast.I'm playing it right now

[Wally]

Well, the C played by the bass precludes the C# chord in any form, imo. The BEatle's music says it is a Caug...as I noted, that agrees with my friend's C#/Ab/C/Ab to E bass movement. C
jbmando, explain this to me...how does a C# note exist in a Caug?????

When my ear led me to those forms of the C chord, I was singing the melody. The G# on the "I" of "I will send to you" was combining with the bass C note to give me that Caug---without me coming to a full understanding of the chord tha is needed there. The music from 'The Complete Beatles" confirms what my ears were hearing. There is no form of a C# chord following that C#m7.
We are each free to play whatever we would like to play, I suppose. I'll go with what my ears have heard for almost 40 years.
C#m7...........Caug............E....
All my loving, I will send to you.

[jbmando]

Where did I say that a C# note existed in a Caug?
C#minor-major7 = C# E G# B# (C)
Caug = C E G#

If you fret it on a guitar:

C#m(maj7)/C = X3211X
Caug............= X3211X


Same notes. The form of a C# something after the C#m there is C#m(maj7)/C. Perfectly acceptable and clear way to name the chord.

[jazztele]

Also my favorite George Harrison soloon this one...perfect pop masterpiece.

[Wally]

Originally Posted by jbmando

Where did I say that a C# note existed in a Caug?
C#minor-major7 = C# E G# B# (C)
Caug = C E G#

If you fret it on a guitar:

C#m(maj7)/C = X3211X
Caug............= X3211X


Same notes. The form of a C# something after the C#m there is C#m(maj7)/C. Perfectly acceptable and clear way to name the chord.

Well, if you aren't playing the root of a chord, then that chord cannot be defined until you understand that root, imho...and there still is ambiguity when there are more than 3 notes, I understand. I agree that those 4 notes can exist in both of the chords that you named. However, the bass plays a C over that x3211x construction, and in my mind that defines the chords as a Caug.
IF a player doesn't understand that that x3211x can be undefined, reads that they should be playing C#m(maj7)..and plays the C#m(maj7) WITH a root note---C#---that chord is going to conflict with what is truly correct...which is a Caug.....no C# anywhere in th chord and the bass is reinforcing the root as C and is playing the sharped 5th---hence Caug. I could call that construction..x3211x...an Am(maj7)/C too if I wanted, right? Why not an Fm(maj7)/C? It is for sure a Caug, and Eaug and a G#aug; but the bass note played on the 'I' makes me want to call it what the music shows....a Caug.
When I sing the melody against a 'full' C# chord of any kind, my ear tells me that that is not what I heard back in the day...many times...and also played many times.
Whatever....one thing I have come to realize. I say this with the understanding that I am far from being throughly schooled in this.....but I have experienced this through listening to and reading those who are well-versedin theory.....Get a circle full of experts, give them a situation, and there will ensue a difference of opinion. That construction, x3211x, which I have always seen named as an augmented chord, is in fact the correct assembly of notes at that point in that song...just don't play a C# note in there to make it a full and ?indisputable?---LOL--- C#m(maj7) and things will work. IF you play a C# sharp note, the bass player will have something to say about it...if he hears/knows what is going on. IF teh C# is played against what the bass is playing, there will be discordance....harmonic chaos, imho and ime. YMMV....

[Wally]

Originally Posted by jazztele

Also my favorite George Harrison soloon this one...perfect pop masterpiece.

IT harkens back to one of his prime influences, imho.....Carl Perkins.
The ?Cinemax? special from the '80's is a great one...what is it.."Carl PErkins and Friends'?? Carl, George, Dave Edmunds, Eric Clapton, and maybe IIRC Brian Setzer.

[jbmando]

Well, if you aren't playing the root of a chord, then that chord cannot be defined until you understand that root, imho...

There are many uses of guitar chords and more prominently, mandolin chords which do not contain a root. X7878X = E Bb D G = C9 without a root. In "All My Loving," the movement of the chords is a common pattern of Xm to Xm(maj7)... The Beatles were either so hip or so unsophisticated that they went to E after that instead of C#m7, but it is a common pattern. That is why I would prefer to call it C#m > C#m(maj7)/C, because you can hear the chord change in your head faster than saying C#m > C+. At least I can. It doesn't matter what you call it to get the chart done, but my way, I can hear the change by seeing the chord symbol, which I can't do by reading C#m to Caug.

[Wally]

In those situations of 'partial' chords, there are other instruments that are filling in the blanks. .....just as the bass does in this song. The Beatles were definitely a notch above simple pop music. They delved into Broadway music, which definitely doesn't stick to simple majors and minors.
"there were birds, in the air,
But I never heard them singing.
No, I never heard them at all,
'Til there was you."

What they didn't know, George Martin did, right?

They went to E becasue that is the key of the song, right???

AS for hearing the change, Iheard the change to soem form of C chord immediately....it just took a bit for thigns to gel and for me to come to the Caug thing. The writen music confirmed the chord. Tehchart underneath the chord shows the same thing.
Call it want you want, but once again....if you write C#m(maj7)/C....and someone who isnt' really hearing the change inserts a C# note somewhere in that chord, there is going to be discordance. IF you write Caug, there is no problem.
Whatever, if we were playing the song together, we coud get along msucially, right?
Have a good one, jbmando.

[jbmando]

They went to E becasue that is the key of the song, right???

Yes, but the common pattern would be C#m C#m(maj7) C#m7 (Johnny Rivers' "Summer Rain," for example.) And I'm not not talking about hearing the change on the record. I'm talking about "hearing" the change by reading the chart.

Of course, the great Meredith Willson wrote "Till There Was You." The fabs just covered it.