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Rosemary Dreaming --------------------------- I sit at my window watching snow; This winter's been creeping awfully slow; Our yard's a plain of white with empty trees; And where's our little garden? Hidden 'neath the silver sea. I cling to those mem'ries from last fall When you and your friends stood proud and tall; I close my eyes and know your fragrant scent; I'm ROSEMARY DREAMING I think you're quite magnificent! And so in deep December I remember The essence of your being.. You'll grace our world when we Break the ground in spring. I'm patiently watching day by day; Can't wait til the winter melts away; To see our garden party spring to life; I'm ROSEMARY DREAMING See them all alive once more Those friends of mine: Basil, mint and thyme; I'm ROSEMARY DREAMING ROSEMARY DREAMING. ================================== Style = BOSANEW RT's = 923 Guitar, Elec Rhythm; 921 Bass Acoustic Bossa; 1096 Piano Acoustic Rehearsal; 706 Elec Guitar Solo Midi Strings, Muted Trumpet, Drum Section all midi
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Lovely imagery delivered by a heartfelt vocal.
The Bossa feel is very supportive of the melody...nice!
Excellent production in all aspects...the soundstage is laid out very well on our monitors.
Enjoyed it!
J&B
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Tano Music, This is really nice - sounds like a summer day.  Much enjoyed. Bob
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Thanks Janice/Bud, and Bob..almost garden time in the SE!
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Thanks Janice/Bud, and Bob..almost garden time in the SE! Yep, now if Mother Nature could just decide on whether the daily high should be 80 or 48! J&B
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Very beautiful song to describe the longing for spring in a poetic and romantic way. Great Latin mood, nice sigh at the end.
Janne
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Very well done Tano! I love the imagery here. The combination of those silky backing tracks with your vocals and those lyrics - the whole thing indeed feels dreamy. I reminds me of that calming feeling you get a few moments before you fall asleep. Fantastic job - thanks for sharing
Cheers,
Deryk
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Very nice tune. Well done. Good listen..
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Hello, Tom
Wow! Tom Jobim again!
This time with Claus Ogerman.
The strings are very beautiful.
Of course the melody, too.
Your way to use b5(#11) is very proper and comfortable.
Your vocal is also very nice as usual.
Enjoyed my listen a lot.
Best regards.
Shigeki Adachi
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Apprentice
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The song is so relaxing. I can imagine my wife and I on a porch by the beach, drinking wine while listening to this music, as the cold wind blows.
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The gentle, relaxing syncopation of the bossanova rhythm lulled me into a very pleasant listening space. I enjoyed this. The melody snuggles really nicely against the Latin rhythm.
I've just read Shigeki Adachi's comments and I realised that never in my life have I used a b5(#11) chord! I'm very impressed that you managed to work it into the arrangement. I have no idea how to use that chord! I'm going to have to seriously ponder that.
The lyrics appealed to me. The concept of using herbs for lyric content proved to be very successful for Simon and Garfunkel when they created a song based on the traditional English folk song 'Scarborough Fair'... I wish you equal success.
Thank you for sharing your post with us all!
All the best,
Noel
MY SONGS...Audiophile BIAB 2024
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Thanks Shigeki, Froi, Noel...comments most kind!
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Just a note on that chord. Shigeki correctly identifies it...it can be either a 7th chord with the flatted 5th, or a 7th chord with the ninth and then the #11 tone stacked on top. That last one is the one I was using.
I listen to a lot of Brazilian music, and this chord come very naturally out of that. The reason is based on the reliance of the Spanish or classical guitar used as the primary rhythm instrument in bossa nova. When you finger a chord like C9, you bar the strings, then use your fingers to create the chord ahead of the bar, but the “bar” leaves the highest (bottom) string sounding at the #11 tone (in the case of a C9, the #11 would be an F sharp). It creates a very interesting leading tone, or, if left “hanging”, adds a nice mystical feeling.
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Hey this is really beautiful! I love it!
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Thanks David! Appreciate the listen!
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Just a note on that chord. Shigeki correctly identifies it...it can be either a 7th chord with the flatted 5th, or a 7th chord with the ninth and then the #11 tone stacked on top. That last one is the one I was using.
I listen to a lot of Brazilian music, and this chord come very naturally out of that. The reason is based on the reliance of the Spanish or classical guitar used as the primary rhythm instrument in bossa nova. When you finger a chord like C9, you bar the strings, then use your fingers to create the chord ahead of the bar, but the “bar” leaves the highest (bottom) string sounding at the #11 tone (in the case of a C9, the #11 would be an F sharp). It creates a very interesting leading tone, or, if left “hanging”, adds a nice mystical feeling. Thank you for the extra information. Appreciate it. I've used the m7b5 many times over the years. With my compositions or arrangements, I tend to use it mostly with II-V type progressions in minor keys. For example: Bm7b5 --> E7 in the key of Am. Sometimes, but not too often, I use it as a VII-I or VII-III harmony in major keys. The #11 variation, though, sounds very interesting. The usual of the 11th seems to be to resolve the chord to a 7th before resolving the 7th to the tonic (or temporary tonic). For example: in the key of C, G11--> G7--> C. This type of dominant harmony progression is one that I often use. (I've set BIAB so that it shows the 11 as a sus4 chord because that's how I tend to hear its resolution.) The 9#11 extension to a chord, however, changes the story completely! Just listening to C9#11 now in BIAB, it sounds like a nicely ambiguous tension chord that could be useful in modulations.... off to experiment! Thanks again for the added insight Noel
MY SONGS...Audiophile BIAB 2024
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