It's one of my favorites of his, and that's saying a lot! It's a lot more complex than it seems, harmonically speaking. Maybe at some point! Thanks!

Thanks and agreed. What you should be saying is get on and transcribe the piece from my big help overhead camera. Maybe I will but the awkward Db key puts off this new learner.

It's sad. I almost forgot it existed until I went through my old CD bonus tracks. And I agree; it's gorgeous.

Thanks!

Happy coincidence, shall we say? I'd been working it up over the last few weeks anyway! I'd love to do any of your requests... once they're acceptable/decent! Thanks!!

I think it's some sort of organ. I have to admit that I don't know much about different types of organ, although in general I know how to tell a "church organ" sound from, say, a Hammond or jazz organ sound. All I know is it's some kind of organ in the right hand of the chorus. And, it was probably different from the organ played in the verses, and probably recorded at a different studio altogether, based on what I know about the extensive, expensive and lengthy Good Vibrations sessions. But more than that I don't know.

Thanks!

@@fixfix2012 Thanks!!

Thanks so much! I usually do my own transcriptions by ear. The few times I have tried to rely on sheet music I generally find it less than ideal, in terms of mistakes or sounding inaccurate, as a rule. I appreciate your watching and commenting!

It's more or less in C, but the harmony contains lots of interesting seventh chords which make it a very tasty C! There may be variations in tape speed which make some versions of this song sound more like Db, but the recording I worked from was in C.

@@seerup101 thank you I’m going to sing this song in a recital.

No argument here! He has mentioned in interviews that he was influenced by George Gershwin, so maybe that makes a lot of sense..

Thanks! That's not substantially different from what I'm playing here, only I've got inversions that may make it look a little strange in an overhead shot.

Sorry, I don't think I ever wrote them down or typed them up, although they are pretty fascinating.

Right?!?

@@seerup101 They are different from the surf's up version. They are the demo version chords and structure

I don't think I've gotten to it just yet, sorry to say, but hopefully soon!

Aw, thanks so much; you're so kind!! So glad you're getting something out of what I do, and so grateful that you watched and commented!

That's a great first step! Keep going!! And thanks for watching and commenting.

We'll see! Haven't gotten to that just yet. Thanks!

That song

Thanks so much! Years ago I had about ten years of piano lessons and I took some music theory and ear training courses in college. Since then I've been figuring out lots of Beatles and Beach Boys and other songs by ear and making videos of them. Thanks for watching and complimenting!

Yeah, it's just an upright. No idea what make. Got it used about six or seven years ago, I think? It ain't perfect but all the same, no major complaints.

I only had this track on an LP compilation of various artists, on the Riverside Wonderland folk label, called Everybody Sing! Volume 4 (International Songs). I had no idea it was the 7-up guy! And I never had any of his other albums, sadly.

Glad to be of help! Thanks for watching and commenting!!

The chords sure are weird, but in a subtle way that you don't see (or, rather, hear) too often. Thanks so mucn!!

Thanks so much for watching and for your kind compliments!

Thanks so much!

That's very kind of you! Thanks for watching and complimenting!!

Thanks for your kind compliment! And it's a very, very good question. I'm not sure I know enough technical terms to explain this properly... it's almost more of a sonic image to me than a theory progression... here's an attempt on one foot. Notice that each half of the verse ends in alternate ways. The first half of the verse moves towards Cm7, and the melody prepares you for that right before that with the passing tone Eb. However, the second half of the verse slides into C7 by painstaking half steps, and the melody prepares you for that beforehand with the passing tone E. The C7, where the verse ends, then draws you unexpectedly and somewhat violently over the waterfall into the territory of F for "Who ran the iron horse", where we have been building towards for the entire verse very slowly. However, if you listen carefully, it's not exactly plain old F, it's actually a tiny hint of F7 (with a strange sounding sharp 4, making this a Lydian dominant ?!?!?), which in turn moves to Bb (also Lydian dominant 7), and back to F7 again. Please notice that none of these supposed resolution places are true resolutions. My guess is that Brian, in the SMiLE era, was overtaken to the point of obsession by the harmonic theme (or leitmotif) of V moving to I and back again, repeating in an almost hypnotic way. If you listen to most of the SMiLE tracks, that same harmonic theme is in almost every one, sometimes portrayed simply, sometimes in a very complex and roundabout progression setting (the key centers may vary or move around from track to track, but it's seemingly V to I and back again in almost every song, I think), Cabinessence is definitely in the latter camp, as is the next track, Wonderful. That's my amateur theory, and I'm sticking to it. Helpful in any way at all?

Thanks!

Thanks so much!