Vista mayor
C mayor
Rango de brillo 2/7 (luminoso)
Notas características
- 7 = B (sensible, tira hacia casa)
- 4 = F (la nota que se apoya en la tercera)
Acordes de Hurricane – Bob Dylan
Tono C mayor – A menor Acordes F, Am, C, Dm, Em, G Tono fácil G (cejilla 5)
Aún sin valoraciones
o con tus datos de acceso
Ajústalo a tu estilo
Tamaño del texto
Tono: C | Am
Cejilla: 0
Am F Am F Am F Pistol shots ring out in the bar room night Am F Enter Patty Valentine from the upper hall Am F She sees the bartender in a pool of blood Am F Cries out "My God they killed them all!" C F Here comes the story of the Hurricane, C F The man the authorities came to blame Dm C For something that he never done Dm C Put in a prison cell but one time Em Am F C G Am F Am F He could have been the champion of the world Am F Three bodies lying there does Patty see Am F And another man named Bello moving around mysteriously Am F "I didn't do it" he says, and he throws up his hands Am F "I was only robbin' the register, I hope you understand C F I saw them leavin'," he says and he stops C F One of us had better call the cops Dm C And so Patty calls the cops Dm C And they arrive on the scene Em Am with their red lights flashin' F C G Am F Am F In the hot New Jersey night Am F Meanwhile somewhere in another part of town Am F Rubin Carter and a couple of friends are driving around Am F Number one contender for the middleweight crown Am F Had no idea what kind of shit was about to go down C F When a cop pulled him over to the side of the road C F Just like the time before and the time before that Dm C In Patterson that just the ways things go Dm C If you black you might as well not show up on the streets Em Am F C G Am F Am F Less you wanna draw the heat Am F Alfred Bello had a partner and he had a rap for the cops Am F Him and Arthur Dexter Bradley were just out prowlin' around Am F He said "I saw two men runnin out, they looked like middle weights Am F They jumped into a white car with out of state plates" C F And Miss Patty Valentine just nodded her head C F Cop said "Wait a minute boys, this one's not dead" Dm C So they took him to the infirmary Dm C And although this man could hardly see Em Am F C G Am F Am F They told him that he could identify the guilty men Am F Four in the morning and they haul Rubin in Am F Take him to the hospital and bring him upstairs Am F The wounded man looks up though his one dying eye Am F Says "why'd you bring him here for? He ain't the guy!" C F Yes, here the story of the Hurricane C F The man the authorities came to blame Dm C For something that he never done Dm C Put in a prison cell but one time he could've been Em Am F C G Am F Am F The champion of the world Am F Four months later the ghetto's on flame Am F Rubin's in South America fightin' for his name Am F While Arthur Dexter Bradley's still in the robbery game Am F And the cops are puttin' the screw to him looking for somebody to blame C F "Remember that murder that happened in a bar?" C F "Remember you said you saw the getaway car?" Dm C "You think you'd like to play ball with the law?" Dm C "Think it might have been that fighter that you saw running that night?" Em Am F C G Am F Am F "Don't forget that you are white" Am F Arthur Dexter Bradley said "I'm really not sure" Am F Cops said "A poor boy like you could really use a break Am F We got you for the motel job and were talking to your friend Bello Am F Now you don't want to have to go back to jail, be a nice fellow C F You'll be doin' society a favor C F That son of a bitch is brave and getting braver Dm C We want to put his ass in the stir Dm C We want to pin this trip murder on him Em Am F C G Am F Am F He ain't no Gentleman Jim" Am F Rubin could take a man out with just one punch Am F He never did like to talk about it all that much Am F It's my work he'd say, I do it for pay Am F And when it's over I'd just as soon go on my way C F Up to some paradise C F Where the trout streams flow and the air is nice Dm C And ride a horse along a trail Dm C But then they took him to the jail house Em Am F C G Am F Am F Where they try to make a man into a mouse Am F All of Rubin's card were marked in advance Am F The trial was a pig circus, he never had a chance Am F The judge made Rubin's witnesses drunkards from the slums Am F To the white folks who watched he was a revolutionary bum C F but to the black folks he was a crazy nigger C F No one doubted that he pulled the trigger Dm C And though they could not produce the gun Dm C The D.A. said he was the one who did the deed Em Am F C G Am F Am F And the all white jury agreed Am F Rubin Carter was falsely tried Am F The crime was murder "one", guess who testified Am F Bello and Bradley and the both badly lied Am F And the newspapers all went along for the ride C F How can the life of such a man C F Be in the palm of some fool's hand Dm C To see him obviously framed Dm C Couldn't help make him feel ashamed to live in a land Em Am F C G Am F Am F Where justice is a game Am F Now all the criminal in their coats and their ties Am F Are free to drink martinis and watch the sun rise Am F While Rubin sits like Buddha in a ten foot cell Am F And innocent man in a living hell C F That's the story of the Hurricane C F But it won't be over till they clear his name Dm C And give him back the time he's done Dm C Put in a prison cell but one time he could've been Em Am F C G Am F Am F The champion of the world
Fin de la canción ¿Otra vez?
Tablaturas de Hurricane – Bob Dylan
NotasX
Análisis armónico
Bob Dylan – Hurricane: análisis de tonalidad y acordes
La canción empieza en Am y termina en F. Sus acordes pertenecen tanto a C mayor como a Am, así que abajo leemos cada acorde de las dos maneras.
Vista menor
A menor
Rango de brillo 5/7 (tirando a oscuro)
Notas características
- b6 = F (la melancolía del menor)
- b7 = G (color del menor natural)
¿Hacia qué lado se inclina el oído?
Nuestra lectura: a nosotros la canción nos suena más cercana a A menor, porque empieza en Am y Am suena 79 veces frente a 55 de C. Es una interpretación, no una regla: los mismos acordes son igual de válidos vistos desde C mayor, y alternar entre las dos lecturas es justo donde está el valor práctico.
Grados de los acordes: mayor y relativo menor
Muestra los grados sobre los acordes, respecto a C o a Am; comparar las dos lecturas es una práctica en sí misma.
Todos los acordes de la tonalidad, ordenados del 1 al 7 por separado para cada tonalidad. Junto a los que suenan en la canción se indica cuántas veces aparecen; los acordes de fuera de la escala están junto a su propio grado.
| Grado | Acorde | Función | Notas | En la canción |
|---|---|---|---|---|
| I | C | Tónica — el hogar | C · E · G | 55× |
| ii | Dm | Supertónica — prepara la dominante | D · F · A | 22× |
| iii | Em | Mediante — un matiz de la familia de la tónica | E · G · B | 11× |
| V/vi | E | Dominante secundaria V/vi — conduce a Amdominante secundaria | E · G# · B | — |
| IV | F | Subdominante — aleja del hogar | F · A · C | 101× |
| V | G | Dominante — la atracción más fuerte hacia casa | G · B · D | 11× |
| vi | Am | Relativo menor — el lado melancólico | A · C · E | 79× |
| vii° | Bdim | Acorde de sensible — tensión | B · D · F | — |
| Grado | Acorde | Función | Notas | En la canción |
|---|---|---|---|---|
| i | Am | Tónica — el hogar | A · C · E | 79× |
| ii° | Bdim | Supertónica — prepara la dominante | B · D · F | — |
| III | C | Relativo mayor — el lado luminoso | C · E · G | 55× |
| iv | Dm | Subdominante — aleja del hogar | D · F · A | 22× |
| v | Em | Dominante menor — atracción suave | E · G · B | 11× |
| V | E | Dominante — del menor armónico, tira con fuerza hacia la tónicamenor armónico | E · G# · B | — |
| VI | F | Submediante — color cálido | F · A · C | 101× |
| VII | G | Subtónica — escalón hacia la tónica | G · B · D | 11× |
Análisis
El par de tonalidades es C mayor y su relativa A menor (sin sostenidos ni bemoles). Aparecen 6 acordes distintos, 279 veces en total; 6 de ellos están de forma natural dentro de la escala compartida. Todo se queda dentro de una sola escala; por eso la canción es fácil de seguir de oído.
Progresiones de acordes
- F Am CIV → vi AmVI → iVI → i ×56
- F C CIV → Icadencia plagal AmVI → III ×33
- G Am CV → vicadencia rota AmVII → illegada eólica ×11
- Em Am Ciii → vi Amv → icadencia de menor natural ×11
El cambio al que debes prestar atención es F → Am, se oye 56 veces. Desde Am es VI → i (VI → i: baja medio tono hasta casa); desde C se lee como IV → vi. Saber dónde caen estas llegadas te ayuda a sentir el fraseo y a anticipar el siguiente acorde.
Consejos de improvisación
- La pentatónica de C mayor y la de A menor son las mismas cinco notas (C – D – E – G – A): empieza desde C para una frase más brillante y desde A para una más bluesera.
- Sobre F, apóyate en F, A, C: las notas del propio acorde siempre suenan bien en los tiempos fuertes.
- Sobre Am, apóyate en A, C, E: las notas del propio acorde siempre suenan bien en los tiempos fuertes.
- Sobre C, apóyate en C, E, G: las notas del propio acorde siempre suenan bien en los tiempos fuertes.
La canción en el círculo de quintas
- Suena en la canción: acorde de la tonalidad
- Suena: V armónico del menor o dominante secundaria
- Suena: acorde prestado o fuera de la escala
- Zona de la tonalidad: IV–I–V y ii–vi–iii
Los sectores vacíos son acordes que la canción no usa.
Cejilla y tonalidades más fáciles
Con las formas de C mayor
- Sin cejilla: formas abiertas de C
- Cejilla 3 + formas de A
- Cejilla 5 + formas de G
Con las formas de A menor
- Sin cejilla: formas abiertas de Am
- Cejilla 5 + formas de Em
- Cejilla 7 + formas de Dm
Las tonalidades más fáciles en guitarra
- 5 semitonos más grave · con cejilla 5 mantienes la altura original
La historia armónica de la canción
El acorde inicial Am pone una base sólida para todo lo que sigue. La columna vertebral es F, Am, C, Dm: IV–vi–I–ii desde C, VI–i–III–iv desde Am. Ningún acorde sale de la escala compartida, así que una sola forma pentatónica sirve para toda la canción. Presta oído a F → Am (IV → vi en C, VI → i en Am): VI → i — baja medio tono hasta casa. El acorde final es F; el oído descansa en C.
Este análisis lo genera el motor armónico de Akorculuk a partir de los acordes de la canción con reglas coherentes. Cuando cambias de tonalidad, los grados se mantienen; solo cambian los nombres de los acordes.
Acordes de Hurricane – Bob Dylan en guitarra, ukelele y piano
Pasa el cursor o toca un acorde de la letra: verás sus posiciones, su grado en ambas tonalidades y un botón para escucharlo. Aquí tienes todos los acordes de la canción juntos.
Repertorios con esta canción
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