let’s get together (1968)

Johnny & the Attractions. Rocksteady, Jamaica

key: G minor
mode: G A Bb C D Eb E F F# G
melody: M S l t d r m s l’ t’
form: intro-verse-chorus-interlude
meter: duple

English function names:     tonic     subdominant
Tagg (modified):            home      counterpoise (away)
Riemann:                    t         s
Scale degrees:              i         iv
Chords:                     Gm        Cm

intro:
 Gm
|/ / / / |/ / / / |/ / / / |/ / / / |

verse:
 Gm
|/ / / / |/ / / / |/ / / / |/ / / / |
 Cm
|/ / / / |/ / / / |/ / / / |/ / / / |
 Gm                Cm
|/ / / / |/ / / / |/ / / / |/ / / / |
 Cm                Gm
|/ / / / |/ / / / |/ / / / |/ / / / |

chorus:
 Gm
|/ / / / |/ / / / |/ / / / |/ / / / |
 Gm
|/ / / / |/ / / / |/ / / / |/ / / / |

interlude (solo):
 Cm                Gm
|/ / / / |/ / / / |/ / / / |/ / / / |
 Cm                D7
|/ / / / |/ / / / |/ / / / |/ / / / |

Another one that would be a two-chord song if it weren’t for those meddling bridges/interludes/guitar solos!¹ If I were too strict, we would miss out on this lesser-known gem (at least to those of us on the peripheries of ska/rocksteady/reggae/dub) with Johnny’s sweet, sweet voice. The verse starts off as something shuttle-esque, but perhaps a bit too long to qualify; then the second half is a counterpoise sandwich. The chorus simply hangs out on the tonic. The guitar solo section provides a lot of contrast, then, to the previous sections, not only in terms of adding a new harmony, but also in the faster harmonic rhythm. It starts off like shuttle (for real, this time), but, surprise, it doesn't return to the tonic.

Let's pretend for a moment that your students (or you) are not ready for this surprise. Perhaps they haven't yet internalized the two harmonic relationships that are the focus. You can always just solo over a different section and leave out the interlude progression. It means you won't be able to play along with the original recording as is, but that's okay.

This song could also be a great introduction to working with three chords (along with Can I Kick It, and there will be others with a single instance of a third harmony). You could transcribe the solo and have them read it (depending on their reading skills). This is always a good way to learn the stylistic "language." Just the notes and rhythms are never enough — you've got to know how they are used in the style you are playing. Maybe some students are ready to solo over three chords and some are not, so you just move on with those who are ready. If you've spent, say, a semester or a year just working with the various two-chord progressions we've looked at so far, you should be ready to start with this kind of song, which, really, is just a combination of iv-i and V-i cadences.

1. cf. Can I Kick It