Electric Organ Frontier

Of course I meant the "arrangement" part of transcription, as in "transcription for organ" (synonym to "arrangement for organ"). I am not a native English speaker and maybe I lack correct English terminology but I don't think the context, which I used the word "transcription" is wrong. Maybe I should have used arrangement to be exact but "rendition" is a word that I am not accustomed to.

Now about the selection of chords; At least in your given examples I don't find (your) original suggestions more complex, but rather just different. I have to note though that I didn't analyze the parts you mentioned (nor do I intend to), it just surprised me that you rushed to discredit the musician's effort because her chord selection, occasionally differs from the original. Again I must stress that it's not that her decision was harmonically wrong - that's the great thing about music.

I'm not trying to discredit the musician's effort. Unlike the rest of you, I don't have "nothing but admiration" for her playing - instead I have "admiration and a slight bit of disappointment". The comments page would be boring as fuck if everyone agreed, now wouldn't it?

My "suggestions" are (as closely as I can represent them) the original chords of the song. The reason I called her chords "more standard and boring" is that she follows a more straightforward descending fifths pattern than the original song, which had slightly more thirds and chromatic movement.

Reimagining the chords would be admirable, but it seems to me like she just didn't hear them properly, or got sloppy and assumed what certain parts would be (due to common usage) instead of listening to the song more carefully.

Impressive ~_^
You're right, minor triads and minor sevenths are functionally the same, but since the anon (you?) stressed minor sevenths in the sentence before, I had to assume he (you?) would do the same in the next sentence as well (I'll accept that especially mentioning them for the kind of chords she played does make sense, though. Didn't think of it that way). The sus4 is a passing tone in the melody, but that doesn't mean the chord is not a Dsus4 (the strings accompaniment plays the F as well). Yeah, with D#0 I mean D#dim, that's a German/Europe only thing I guess. But since Bach used D#0, that's what I'm gonna use. Also, from what I've been taught (up to now), diminished chords are the only rootless chords there are, so what's the point in pretending it's a "rootlessly" realized B7?

* the strings accompaniment plays the G as well... I wish we had an edit button...

Notice that what I said in my first sentence was a half-diminished seventh (m7b5), not a minor seventh. Half-diminished sevenths are not equivalent to any major triad, and should be written out fully.

Anyway, I wrote down her chords as they are played, and the original's chords as they are conceived. There's a difference between what is played (or even written) and the underlying thread of the progression.

For example, Dsus4 may be the chord you would play on a guitar to accompany the melody, but D is the underlying harmonic structure. A chord is only suspended if it resolves, and this one doesn't (because it's a passing tone to a different chord, i.e. B7 played without the root). So I would refrain from calling it Dsus4.

Diminished sevenths (not triads) and augmented triads are in some sense "naturally rootless" since their inversions are also the root position of other diminished sevenths and augmented triads respectively. However, it's rare that a diminished seventh is used in the harmonic structure of a piece without a root assigned to it. Chromatic chord movement is similarly rare, i.e. D->D#. It makes more sense for the harmony to drop a third and then ascend a fourth, and in truth that's usually what chromatic ascension is - every other note is the third of some nonmanifest chord.

By the way, Bach didn't use D#0, he used D♯°, for what it's worth.

"Notice that what I said in my first sentence was a half-diminished seventh (m7b5), not a minor seventh. Half-diminished sevenths are not equivalent to any major triad, and should be written out fully.

Anyway, I wrote down her chords as they are played, and the original’s chords as they are conceived. There’s a difference between what is played (or even written) and the underlying thread of the progression."

I acknowledged that already... Also sorry for mixing up "minor seventh" as "some chord + minor seventh" instead of "minor triad + seventh". Made me sound like I thought what she played actually was a minor seventh chord (i.e. m7) when I only wanted to say that it's some chord (in this case a half diminished one) + minor seventh. I know, doesn't make much sense since per definition there is no half diminished chord without a minor seventh in it, but English is not the language I'm learning music in, so I sometimes am at a loss of words to express what I want to or I simply mix up terms... But as I already said, I now fully see the point in writing exactly what she plays even when writing just what's conceived for the "correction".

Regarding the sus4 issue, you're right, I forgot about that. It's the reason why it's called "suspended" after all...

"Diminished sevenths (not triads) and augmented triads are in some sense “naturally rootless” since their inversions are also the root position of other diminished sevenths and augmented triads respectively. However, it’s rare that a diminished seventh is used in the harmonic structure of a piece without a root assigned to it."

Indeed, never noticed that before... I shall remember it and put this knowledge to good use.

Looks like I also have to give in on the B/D# issue, not because "true" chromatic chord movement could not make sense there (I still think it could), but simply because it isn't one (lacks A and C to clearly make the chord diminished). Looking at the accompaniment again (this time thoroughly), it's indeed B with bass moving through the third. Sounds better than D#dim also...

I'll admit I jumped to her defense too hastily and thus made mistakes, but nothing of this stops me from honestly enjoying her performance.

i couldnt have said it better myself. untill i see her vagina she is man.

man, you musta fell for a few really bad traps before to think like that.

Since Youko the goddess of music Kanno did the score, that's not too surprising ^^