![]() This is no real surprise, as the notes of the C major scale (C, D, E, F, G, A and B) can be found in both chord shapes. When you look at what this synth is playing, it never strays from the white keys, regardless of whether it’s played over the CMaj7 or FMaj7. Music theory basics: how to understand musical modes and use them in your songwriting ![]() The first is a kind of freeform synth flute noodling, largely improvised over the top of the chords. Meanwhile, over the top, the track’s topline consists of two main parts. The chords are then backed up by a round, analogue synth bass part that highlights root notes and fifths, which are playing a skippy, offbeat pattern in classic Chicago house style, locking in the swung feel of the 909-sourced drums.Īrrangement-wise, things are very basic, the main drum, bass and chord parts never letting up for a moment. ![]() Interestingly, when swapped around and played with the FMaj7 first, followed by the CMaj7, this alternating progression forms the basis of Gymnopedie No.1, a very famous, wistful piece of classical piano music composed by Erik Satie in the early 1900s. The CMaj7 is played in the 2nd inversion (G, B, C, E), while the FMaj7 is voiced in root position (F, A, C, E). In the key of C major, this iconic floor-filler takes the form of a simple, alternating two-chord pattern, switching between two bars each of CMaj7 and FMaj7. ![]() For clarity, we’re examining the EK 12” mix of this tune, which has different instrumentation to the album version, swapping out the original’s real flute for a synthetic version. A seminal early Chicago house classic track, the original version of The Whistle Song is a track found on Frankie Knuckles’ 1991 album Beyond the Mix. ![]()
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