Talk:Dogs (Pink Floyd song)

message: I changed the "personnel" to "band members" which might sound better. -Mohseng 15:18, 10 May 2007 (UTC)
thread_title: Band members

message: This song is not to be confused with the song "The Dogs", sung to the tune of The Church's One Foundation or "The White Cockade" which begins;  "The dogs they held a meeting..." Pustelnik (talk) 00:03, 28 January 2008 (UTC)
thread_title: The Dogs

message: In the 'Early versions' sections it states that on recent Roger Waters tours, the musicians sat down during the performance to play poker, presumably referencing Dogs Playing Poker.  On that page, however, it states they played one round of cribbage, not poker, each show with the intention of declaring a winner at the end of the tour.  I don't know which is correct.  Perhaps someone else does and can edit the pages as appropriate.  Jrmh (talk) 12:25, 2 December 2009 (UTC)
thread_title: Poker

message: You can see that some sources have been cited more than once -- that was me, sorry. I don't know how to cite something a second time without it being added to the list a second time. If anyone cares to spell it out for me (so I don't have to read a long article titled "Citing Sources" or whatever, searching for the specific answer), I'd be really grateful. Or, at least, fix it for me, and I'll try to figure out what you did.
:--Ben Culture (talk) 14:48, 3 September 2012 (UTC)
thread_title:  Citing the same source more than once. 

message: I wrote:
The main theme features what were, for Pink Floyd, rather unusual chords. In the final version's key of D minor, the chords are D minor ninth, E♭maj7sus2/Bb, Asus2sus4, and A♭sus2(♯11). All these chords contain the tonic of the song, D.Pink Floyd: Animals (1977 Pink Floyd Music Publishers Ltd., London, England,  [USA ])Guitar World magazine, Volume 22, Number 11, November 2002.Phil Rose, Which One's Pink? An Analysis of the Concept Albums of Roger Waters and Pink Floyd. Collector's Guide Publishing Inc.  [US ]
. . . And I cited three sources for it: The sheet-music book, Phil Rose's Which One's Pink?, and an issue of Guitar World magazine.
The thing is, these three sources do not agree on what to call the chords. The sheet music book, actually, gets it wrong the worst, calling the second chord a simple B♭ (ignoring the E♭ in the chord), the third chord Am9(sus4) (not bad, but there's simply no third in the chord at all, and Gilmour sings the MAJOR third, C♯, over the chord at times. So, "A9sus4" might do, except there's no seventh, so it'd be Asus4add9, which just looks ridiculous), and the fourth chord a B♭7 (more on this in a moment).  Phil Rose calls the second chord B♭(add4) (not bad, but due to the low placement of the E♭, it makes more sense to go with the E♭maj7sus2/B♭), and the fourth chord B♭/A♭ (ignoring the E♭ low in the chord, the fifth of A♭, so it must be a kind of A♭ chord, so we get A♭sus2(#11).)
Basically, I have gone with the Guitar World names for the chords. I find guitar-oriented magazines to be infinitely more reliable than those sheet-music books, which are basically for pianists who want to play a melodic arrangement, to carry the song by themselves. In fact, almost everybody's sheet-music books contain multiple errors. I'm convinced these things get published without the songwriter(s) even glancing at them.
I admit, I don't know why Guitar World called the third chord (low to high: A, E, B, D) "Asus2sus4", while the fourth chord (A♭, E♭, B♭, D) is "A♭sus2(#11)". You'd think consistency would dictate either changing the third chord to "Asus2(11)", or changing the fourth chord to "A♭sus2sus#4". This -- the naming -- is a problem with weird chords, one I've dealt with in teaching Brian Wilson compositions like "Let's Go Away For Awhile", whereas Waters and Gilmour have rarely strayed from their E minor ninths and C major sevenths. But on "Dogs", boy, do they stray. It's what happens when a relatively-uneducated, intuitive guitarist simply puts his fingers on the strings in a new position, and decides he likes the results ("Syd's Theme" - the B♭, F, G, E drone from "Shine On You Crazy Diamond" is another example).
One other problem, and here I'm simply asking another musician to tell me what they think:  Later in the section, I refer to a chord that goes, low to high, A, E, A, C#, F, as "A(add#5)". But now I'm thinking, perhaps it should have been "A(add♭6)" instead. It resolves to a straight A Major with the fifth on top. Should I change it?
--Ben Culture (talk) 01:59, 10 September 2012 (UTC)
thread_title:  The chords 

message: I wrote a fair amount of the material in the "Musical Composition" section, including the following:
The song is then stripped back down to acoustic guitar, droning on the Dm9 chord, with the bass softly striking E, the ninth of the chord, in the same range as the guitar's lowest note, D. Another slash chord movement follows, B♭ to C/B♭, followed by the key's dominant, A Major, with the minor sixth heard first at the top of the chord, in an A(add♭6), and later, as its bass note (in a progression of A, A/F, A/E, to D minor). After another guitar solo over the new progression, Gilmour sings a melismatic vocal with overdubbed harmonies, ending with the lyric "Have a good drown/As you go down/All alone/Dragged down by the stone", as the dissonant A/F leads back to Dm9.
(I just felt I should include the whole paragraph, for the sake of context.)
Now I'm wondering if that "A/F" should be named Faug(maj7), or Fmaj7(aug), or Fmaj7(#5) or Fmaj7(b6). I still mostly lean towards "A/F", as odd as that sounds. The chord "up top" is clearly meant to be an A throughout the transition back to D minor. Anyway, if anybody feels otherwise, I won't mid if it's changed,
:--Ben Culture (talk) 06:06, 18 November 2013 (UTC)
thread_title:  The Chords, Part 2: 

message: Brian Humphries told this, apparently: https://www.loudersound.com/features/raving-and-drooling-how-pink-floyd-made-animals Jules TH 16 (talk) 09:36, 23 January 2022 (UTC)
thread_title:  David Gilmour on drums