Shining Star Chords

Shining Star Chords

Postby reichorn » Sun Jan 08, 2017 12:33 pm

I think Rusty is right about that one tricky chord that Grateful Dad asked about. There's also a key change for the last chorus. Here's what I came up with.

Code: Select all
       B          Emaj7
Honey, you are my shining star,
          B       Emaj7
Don't go away, oh baby.
          B             Emaj7
I want to be right here where you are
              B       Emaj7
Till my dying day, oh baby.

So many have tried, tried to find
A love like yours and mine, oh baby
Don't you realize how you hypnotize,
Make me love you more each time, oh baby.

   A           E               F#         F# B F#  / F#  G#
   Honey, I'll never leave you lonely,
   A            E           F#    F# B F#
   I'll give my love to you only
          *F#7#5       G7 F#7
   To you only, to you on-ly.

   * = 2x233x

Honey you, are my shining star...

SOLO

Feels so good when we're lying here next to each other
Lost in love, oh baby.
Honey, when we touch, I love you so much
You're all I've ever dreamed of, oh baby.

   A           E               F#         F# B F#  / F#  G#
   Honey, I'll never leave you lonely,
   A            E           F#    F# B F#
   I'll give my love to you only
          *F#7#5       G7 - - ---> (to C)
   To you only, to you on-ly.

       C          Fmaj7
Honey, you are my shining star,
          C       Fmaj7
Don't go away, oh baby.
          C             Fmaj7
I want to be right here where you are
              C       Fmaj7
Till my dying day, oh baby.
reichorn
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Re: Shining Star Chords

Postby healthy_scratch » Tue Jan 10, 2017 12:56 pm

Hey there Reichorn, nice to see you going through some of the tunes to make sure they are all just exactly perfect.

I love Shining Star and had been working on and off on this one over the past few months never happy with the results. I was struggling with the pre-chorus, so you posting your revised version had me hankering to try the chords you suggested as the ones here previously did not sound right. I tried those as posted and regrettably I struggled to get them right using the F#7 aug -> G7 -> F#7. While they sound close something seemed slightly off to my ear.

So of course this is merely my interpretation and is hardly anything definitive, but having watched a few more dozen times Jerry play the tune in this fine version and video below, I updated the changes you posted as I heard them to this exquisite ballad as played here yet originally done I believe by the Manhattans.

Now in the original Manhattans' version they definitely appear to use those Maj7th chords, but here with what Garcia is playing my ear is being pulled more towards standard triads throughout the bulk of this performance. As always versions will vary and Maj7ths can sound nice in this context so what you have transcribed could definitely work in context of the tune and may be indeed employed by Garcia on the version you used to write out the original chords, so again I mean absolutely no ill will whatsoever by posting what I am hearing on this version and appreciate greatly your efforts to bring this and the other tunes to the fore for review.

https://www.youtube.com/watch?v=4L7UPXKx8bI

I had watched this video many any times in the past and could not suss (horrid pun of doom, given the chords in question) what the hell the Fatman was doing, but finally working thorugh it again just now I have gotten it closer to sounding what I believe my ears are hearing. So these are the chords as I am now hearing them on this version from Hampton VA on 11-9-91:

Code: Select all

          B          E
Honey, you are my shining star,
          B       E
Don't go away, oh baby.
          B             E
I want to be right here where you are
              B       E
Till my dying day, oh baby.

So many have tried, tried to find
A love like yours and mine, oh baby
Don't you realize how you hypnotize,
Make me love you more each time, oh baby.

   A           E               F#         F# B F#  / F#  G#
   Honey, I'll never leave you lonely,
   A            E           F#    F# B F#
   I'll give my love to you only
           E/F#       F/G  E/F#
   To you only, to you on-ly.
   
Honey you, are my shining star...

SOLO

Feels so good when we're lying here next to each other
Lost in love, oh baby.
Honey, when we touch, I love you so much
You're all I've ever dreamed of, oh baby.

   A           E               F#         F# B F#  / F#  G#
   Honey, I'll never leave you lonely,
   A            E           F#    F# B F#
   I'll give my love to you only
          E/F#       F/G  ---> (to C)
   To you only, to you on-ly.

       C          F
Honey, you are my shining star,
          C       F
Don't go away, oh baby.
          C             F
I want to be right here where you are
              C       F
Till my dying day, oh baby.



Again the only real changes I have made were to any Maj7th chords which I made as standard triads and then on the bridge I used the slash chords - E/F# and F/G instead of the F#7aug and F#7 and G7 dominants.

I play the slash chords as follows

E/F# I play as follows E/F# = 2x210x
F/G I play as follows F/G = 3x321x

For the E/F# you could feasibly play 222100. Playing the open B and high e strings creates a very lush sound full sounding chord, but, from what I see and hear on the video I do not believe Jerry is including them in the E/F# as he plays them here. That said of course harmonically those notes sure can work, I just do not hear them brightly ringing out. Likewise, when you go up to the F/G you could go also add the C and the open high e string again yielding a 333210 but I do not hear the high e sound in the context of what JG is playing in this video here, where he seems to be rhythmically concentrating much more around the lower and middle strings.

These slash chords pronounced "E slash F#" and "F slash G", or "E with an F# in the bass" or "F with a G in the bass". can also be referred to as F#7sus4(9) = E/F# or with the other chord F/G = G7sus4(9). As a result they are both from the dominant 7th family of chords.

These chords have been used a ton in funk and soul. Nile Rodgers as well as Michael Jackson's excellent guitarist in the late 70's early 80's David Williams were two legends of funk who made use of these chords extensively from the genre. Williams used them on a lot of Michael's funkier numbers from Off The Wall, there are a bunch of them in Rock WIth You for example.

Pat Metheny is another who uses them all the time. You will find various uses exhaustively throughout his fine enormous catalog of compositions, In particular checkout the track Timeline from the stunning Michael Brecker disc Time Is Of The Essence from 1999. Metheny wrote the tune in dedication to Elvin Jones and is joined on the version on the album in question by it's host Michael Brecker along with the drumming machine himself Elvin Jones on drums as well as a solid Larry Goldings on the Hammond B3. This disc gets little press but is one of my all time favorite CDs from any genre.

If you like Pat Metheny's playing in the context of straight up jazz (like any of his trio work) this disc is a must it is an unbridled knock out. It is the only Metheny project where I have heard him playing with a Hammond B3 player throughout and makes for a musical meeting with absolutely superb results. Overall Time Is of the Essence is simply one of Metheny and Breckers greatest collaborations IMO. The tune Timeline itself I believe is a jazz blues in D and uses a bunch of these 7sus4(9) or slash chords moving up the neck as part of an ultra hip turnaround. Check it out.

Anyhow to see the actual note spelling of these slash chords check out:

http://www.cyberfret.com/chords/featured/f-gbass/index.php

Thank you for posting the changes to various tunes lately across the forum. You have done have helped me here in particular solve a chording riddle that had me stuck for months.

Looking forward to any feedback comments or suggestions any others may have regarding this fine late period JGB number.

Cheers,

- HS
healthy_scratch
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