bei dir war es immer so schon

Frank Wekenmann

Francois,

thank you for the welcome!
The singer is Rosita Serrano. She was from Chile and didn't speak German. It is, as you stated correctly, from the Movie "Anita und der Teufel" (Anita and the devil). I couldn't find any further information about it, except that it was made in 1941, so it is probably not worth remembering.
This is really a strange song. First, it stems from a Nazi-movie (although the composer Mackeben was no Nazi) and yet it is hauntingly beautiful. It is like finding a diamond in a heap of sh*t.
Second, I also first thought, after hearing an instrumental version for the first time (also Jimmy Rosenberg's version) that it was a very romantic song while in fact it is about loss and desperation!
Dennis' translation is excellent. Maybe one small (though not essential) correction for the second A-part:

"With you I was really at home but the dream that I dreamed here (with you) is over."

I also found a second verse, though I don't know of a recording that uses it:

(My translation):

"I can't even hate you for forgetting me so quick
it's not your fault, somebody else stole you from me.
Yet to leave the man who is my one and only is worse than death
and there are no words to express my heartache."

How sad is that??

François RAVEZ

Hi Dennis and Frank,

Thanks to you both for these info and translations.

Definitely a sad and beautiful song

Best

François RAVEZ

François RAVEZ

Hi,

I don't know if somebody already mentioned it, but there is also an unsung version (original version from the film?) by Adolf Steimel on this site (Österreiche Mediathek) :
http://www.schifter.mediathek.at/Schift ... _20_20.htm

Best

François RAVEZ

Jan

Larssen wrote:

Hi

this is a beautiful song. Heres what I hear in the Bireli recording. A little different from wowbobs but many of the chords are just inversions of the same chords.
Sorry bout the Word layout...

Christian

I've been reading this thread since its inception and tried all the versions posted but somehow I couldn't get them to match completely to the Bireli version that I like the most.

Christian, for me your version comes the closest but I still couldn't get it to sound the same in parts. I think this is because there are so many ways to play any of the given chords and I defo don't know them all (or even a fraction of them :oops: )... I don't know if any others have this problem... but whenever I try other peoples chord charts, I wish the chords were also described.

I've posted a chart of what I hear and also included the chord shapes I meant in my chart. If anyone tries it, please let me know if there are mistakes (chord names??) or improvements.

Unfortunately, I've never heard the Jimmy Rosenberg version and the only place I've found it is on the Festival CD which is a bit much for one tune. Any chance anyone could let me have a copy of just that track to listen to. I understand if this is not done. Just slap me if this is the case :shock: :?

Larssen

Hi,
here's the only version that I've heard with Jimmy. The sound is painful...

http://www.youtube.com/watch?v=xS8G6O_8Ab8

Here are some of the chordshapes I used in my transcription:

GMAJ7/B Bbdim Am7 Adim (D7b9/A)
e x x x 5
b 7 5 5 4
g 7 6 5 5
d 5 5 5 4
a x x x x
e 7 6 5 5

Bm7b5/F Em/G Emmaj7/G (G+)
e x x x
b 3 5 4
g 2 4 4
d 3 5 5
a 2 x x
e 1 3 3

Jan: How did you make that chord chart? It looks better than what I have presented above...
I agree with lot of the chords you have used in you're transcription but some of the bass notes are different. In the section with Em ... you have B
as the bass and I still hear a G, the Bm7b5 you have the root and I have the flat 5th (F) and in some cases I hear the 3rd as the bass where you have the root.



Christian

Larssen

Ok, the chords have moved left but I hope you still can read it :oops:

Jan

That's interesting... I see what you mean about the intro.

I'm not sure the first Gma7 has a B but it defo sounds better than a G bass but I think the second time round it is lower sounding. I've posted a new intro transcription below.

I'm still looking at the rest ... need to listen closer but it's quite hard to distinguish.

> The sound is painful...

And the singing :shock: ... but the playing is great. Thanks. Now for a no singing version...

For the chord charts I use a standard word document and convert to pdf. You need to use a monospace font like Courier New for the chords to work. Courier New is in every Windows so you don't need to embed the font in the PDF file (not sure if Mac users can see the chord charts properly).

I've included a blank word document with the basic grids and empty chords. The first chord is filled with solid and non-solid note symbol. You can just copy this and then paste it to all the places you need it.

Jan

Larssen wrote:

In the section with Em ... you have B
as the bass and I still hear a G...

I see what you mean about using the G as a bass for this bit... something like...

Em/G -> Gaug -> G -> G7#5

...whereas I have used the B as a bass for the first two chords and then G for the last two which gives a strange sounding jump harmonically

Larssen

Thanks for the template but as you suspected it didnt work on my mac. I have however used Finale to write down the chords with fretboards. I have now nearly the same intro and e-minor part as you have but I think when the root is played on the 6. string the 5th is often left out on the fifth string.
When I play this tune in my band I dont play these chords at all but I learned alot listening this carefully to the voicings of this song and i believe it really doesnt matter if its 100% correct.

Jan

Larssen wrote:

Thanks for the template but as you suspected it didnt work on my mac. I have however used Finale to write down the chords with fretboards. I have now nearly the same intro and e-minor part as you have but I think when the root is played on the 6. string the 5th is often left out on the fifth string.

Thanks. It does look like our versions are converging. I think the Word template will work on your Mac if you select the whole table with the chords and change the font to any monotype font (I don't know which they are on a Mac)

Larssen wrote:

When I play this tune in my band I dont play these chords at all but I learned alot listening this carefully to the voicings of this song and i believe it really doesnt matter if its 100% correct.

LOL ... neither do I... I don't even use the same rhythms. But as you say, it's useful for learning, and it's a transcription after all.

Another version which is interesting and never mentioned is that of Robin Nolan. In true Nolan style he adds his own stamp and it is very beautiful. I like the way he takes standard tunes and tries something different (often rhythmically) with them.... doesn't always work, but when it does it's great... and at least he tries.

It's been a very interesting comparison of notes. I think it is very important when chords are mentioned as part of a tune that it is accompanied with an indication of what shape is used. After all, a G or G7 has so many positions, inversions, notes left out or doubled etc that it could be almost anything.

By the way, the Finale PDF looks very pro. I bet that's what they use for the Fake books... even that font :P