#1
I've been trying to work out Mr Wonder's Golden Lady and I have a few questions I hope can be answered, mainly about the chords he uses. I believe the album version of the song is in Ebmin but I'm crap with my flat keys and the chord sheet I have is in Emin so please bare with me.

So the intro and verse section goes; Cmaj7, Dm7, Em7, F#m, B7 (VI7, vii7, i7, ii, V7... I think). The Dm7 throws me a little, I've put it down to an accidental, maybe he used it cuz it sounds nice but a friend of mine says he's trying to trick us into thinking the song is in Cmajor up untill the F#m>B7 turnaround and then he uses a false cadence and repeats the process leaving us in suspense. Is my mate on the ball here or is something else going on?

Ok then to the bridge, it has a bunch of colourful chords; C, Gmaj7, Fm7, Bb13, Ebmaj9, Ebm7, Ab11, Ab7, F#minadd9, B7. At first I tried to decipher it in Em but I think here he has now modulated to Cmajor but with a bunch of borrowed chords... can anyone clear this up for me? Possibly in roman numeral form.

Ta
#2
Sorry to bump but I really would appreciate some insight to what's going on in this song.
#3
Quote by Markus85

So the intro and verse section goes; Cmaj7, Dm7, Em7, F#m, B7 (VI7, vii7, i7, ii, V7... I think).

I'd say it's all in E minor with a few non-diatonic notes. Bear with me here.

That Cmaj7 is most likely actually a Em(b13)/C, which is why the B7 works so well as a last chord here (B7-Em is an authentic cadence). I blame a transcription error. Most guys transcribe in such a way that's easiest for the performer, but not for the arranger or guy analysing it.
Betcha anything you got the sheet music from a fake book? Fake books are notorious for these such errors.

Em(addb13) to Dm7 is probably the weirdest movement in the song. I actually don't have a means of explaining it other than that chord voicings were convienient. Perhaps it makes sense when you look at the lead melody.

F#m7 is what's called a predominant chord. It's technically a ii chord and makes a convenient ii-V-i movement when combined with the B7 and the Em(addb13).


Quote by Markus85
a friend of mine says he's trying to trick us into thinking the song is in Cmajor up untill the F#m>B7 turnaround and then he uses a false cadence and repeats the process leaving us in suspense.

It does look like that. That first chord, which may or may not be a Cmaj7 or a Em(addb13), moving to that Dm7 looks pretty regular, but moving from an Dm7 to an Em7 looks a bit sus, which is why I don't believe the first chord is a Cmaj7.

Quote by Markus85
Is my mate on the ball here or is something else going on?

Maybe?
It's possible stevie couldn't decide whether to use Cmajor or Eminor tonality and decided to go down the middle path. As in, make it seem as if he's starting off in Cmajor but using a cadence which sort of implies that the first chord is actually an Eminor chord.

I wouldn't know for sure unless you wrote down the lead melody. If the song's melody ends on a C, I doubt it's meant to be in Eminor. If it ends on an E or a G, then I'd still have no idea. If the song ends on a B, I doubt it's in Cmajor, but it still could be.

Quote by Markus85
Ok then to the bridge, it has a bunch of colourful chords; C, Gmaj7, Fm7, Bb13, Ebmaj9, Ebm7, Ab11, Ab7, F#minadd9, B7. At first I tried to decipher it in Em but I think here he has now modulated to Cmajor but with a bunch of borrowed chords... can anyone clear this up for me? Possibly in roman numeral form.
Cmaj7 to Gmaj7 is just a I to V

G to Fm7 is a bit strange, but I'd agree with you and call that Fm7 a borrowed chord. Therefore it's V - iv

The annoying thing about analysing that Bb13 is that it could be actually a number of chords. It could be an Ebmaj13, Fm13, Gm13(b9b13), Abmaj13(#11), Bb13, Cmb13, Dm13b5(b9b13b11) (?).

Because Fm appears before it and Ebmaj9 appears after it, I'm going to assume the transcribers have it right here. It's moving in fourths. I don't think you really need roman numerals to understand that.

Ebmaj9 to Ebm7 looks a little nasty and strange when you're looking at it as Eb to Eb, but from a voice leading perspective it's fine. The G and D of the Ebmaj9 chord are moving a semitone downwards whilst the F is moving a semitone upwards. Because of all the semi-tonal movement in different directions, this chord movement doesn't sound too bad.
But, you can't analyse this coherently with roman numerals.

Well, I'm lazy so I'm not analysing any more of it, but as promised here is the progression on roman numeral form.

I - V - iv - bVII (or IV/iv?) - bIII (or bVII/iv?) - biii (or bvii/iv) - bVI - #iv - bVII

Meh, I can't be arsed proof reading all that. If there are any musical errors in my post, expect someone else to come in, flame me for an argument and correct most of them.
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#4
brilliant, this is exactly what i was lookin for and more, cheers fella'.
#5
Quote by Markus85
i was lookin for and more
and more
more

If you want me to do those last three chords, I'll need a few hours of sleep and some caffeine. Sorry bro.
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#6
please sir, may i have some more? heh, i'm still assimilating the idea's you've already given me, i think i've still got alot of understanding to go, maybe stevie is abit too advance for me at the moment, i feel like a monkey hitting a rubicks cube against a rock to solve it, lol.