Our own Don Sickler added his muted trumpet and flugelhorn interpretations to Richard's rhythm section. Following up her critically acclaimed album Hidden Vagenda, with an album that continues her mission to reach out to those with ears to the ground looking for answers, Kimya Dawson will release Remember That I Love You, May 9th on K Records. This song has been recorded instrumentally, by trumpeter Benny Bailey accompanied by pianist Kirk Lightsey. In G minor, you start on low F♯ which works for most female singers. If you have a good low E, you'll probably want to do it in F minor. The song never goes lower than the first note you sing, and the first five notes span the range of the song, except for one note a half step higher near the end. (Our F minor lead sheet is written an octave above where it would be sung in an alto register, to avoid too many ledger lines.) Neither of these are female friendly keys, so we're also providing G minor (with a range of F♯3 to B♭4). Vocalist Richard Allen, with his rich low register, sings it in F minor-two octaves below where it is notated-this is a long meter bossa version. We're presenting our ballad vocal lead sheet editions in a few different keys, including Tadd's original key of C minor (with a range of B3 to E♭5). ![]() The lyric is perfectly melded to Dameron's melody the surprise ending is revealed after the highest melody note. Similarly, the lyric by Bernie Hanighen plays with emotional expectations, leading in a positive direction only to climax at D with an unexpected ending. C is identical to A, and D begins in A♭ major like the B section, resolving back to a II-V7-finally in C minor as the initial melody had implied. This B section has a four-measure tag developing the melodic phrase of the seventh and eighth measures back toward C minor, resolving again in major for the C section. ![]() The B section goes to A♭ major and then G major note that the melody is similar in these two four-measure phrases, but a step higher in the lower key. Despite this suggestion of C major as the ultimate key, the A section melody still implies C minor the changes largely reflect this tonality but return to major on the fifth measure. The opening melody pick up arpeggio, A♭ minor ascending to D, outlines a resolution that would imply C minor, but actually lands on C major. Another absolutely beautiful Tadd Dameron ballad, this one is particularly remarkable in the way it plays with expectations regarding major and minor tonalities.
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