Hi Michael,
Do you mean the keyboard ostinato motiv?
Chords an lyrics you should easily find on the internet.
Anyway, here's the keyboard motiv. Might have to be transposed.
Thanks for transcribing the keyboard line!
Just one suggestion: While avoiding ces and fes might seem to simplify
the notation, I think in reality it's easier to keep to the actual
diatonic structure so as to avoid suggesting chromaticism where there's
none.
Basically, one might view this piece (its chords being G♭ F♭ C♭ or, if
you prefer, F♯ E B) as
- having G♭/F♯ as a root, with a double plagal harmonic pattern I ♭VII IV
- having C♭/B as a root with a harmonic pattern starting on the
dominant: V IV I
(I hope I can get away without a flamewar about which of those
viewpoints is "more correct" :-).)
In the first case, the "natural" key would be
\key ges \mixolydian (or \key fis \mixolydian),
in the second case
\key ces \major (or \key b \major),
both of which lead to the same key signatures. Since you 5 sharps are
more common than 7 flats, I'd suggest the following:
\version "2.25.13"
\paper {
indent = 0
}
\header {
title = "Kim Smoltz"
subtitle = \markup \override-lines #'(baseline-skip . 2.5) {
\column \center-align {
"from the „Mollusk Sessions“"
}
}
composer = \markup \override-lines #'(baseline-skip . 2.5) {
\column \right-align {
%"Ween, 1995"
"Ween"
}
}
}
global = {
\key ges \mixolydian
\time 4/4
\partial 2
\accidentalStyle modern
}
keyboard = \relative f' {
\global
\repeat volta 2 {
r8 ges8 as bes~ |
bes8 as ges fes~ fes8 es fes8 ges~ |
ges8 fes es des~ des8 ces des8 es~ |
es8 des ces bes~ bes8 as bes8 ces~ |
ces2
}
}
\score {
\transpose fes e \keyboard
\layout {}
\midi {
\tempo 4=108
}
}
And of course one might also opt for a tonality of \key ges \major (or
\key fis \major) which shows the explicit flat 7 if one wants to
underline the "mixolydian" interpretation, for example like this:
Lukas
