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I still believe it's ii-v-I in the dom key... am7 D7b9 (9) - Gmaj7... seems logical and Wes-like explanation...
But I like the tritone sunb idea too... seems to be convincing considering other Wes records.
But.. what is Vii7 to I cadence mentioned ?
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07-20-2017 10:59 AM
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Also reminds me a bit of the last four bars of Stablemates.
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Originally Posted by djg
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'Contiguous II Vs'?
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I have a truly marvelous answer to OP, which this forum is too narrow to contain.
VladanMovies BlogSpot
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Originally Posted by Vladan
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@5:30
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Originally Posted by djg
I did a video about that stuff a week or so back:
OTOH... Bmaj7 Cmaj7 is also a good cadence, and follows from the bVII maj7 sub that Wes was inordinately fond of. Bmaj7 is the b7 of of the tritone dominant (Db7). I learned this sub from Barry Harris...
Both have a similar type of movement about them of course.
Anyway this is thinking harmonically - I like your melodic sensibility.Last edited by christianm77; 07-21-2017 at 07:06 AM.
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Who could know how the lick was arrived at? (Theory has it that schema are formed and used by individuals without their conscious awareness.)
But as to how to think about the lick, I'd think outside the box labelled 'functional harmony'.
Not unlike a dance step, fashion accessory or food garnish - it's all in the execution.Last edited by destinytot; 07-21-2017 at 08:26 AM.
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I tend to think in terms of passing chords if it's a half-step away.
Not sure what Wes was thinking but seems like Dm...G7-B7.... Cmaj7.
He may be implying a B7 to Cmaj7.
I know it's wrong to use blues as a frame of reference but there's so much movement with chords a half step away from a target chord in blues. Dim chords can commonly be used as subs but with a ii-V-I (Dm-G7-Cmaj7) the first thing that comes to mind is Abm6 which is a half step away from G7. The chord closely related to Abm6- the Db7, is a half step away from both Cmaj7 and Dm.
It's just easier for me to visualize in half steps.
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Originally Posted by djg
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Originally Posted by djg
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Originally Posted by coolvinny
Im sure someone has already sussed this out - but I have to say trying to attribute a chord to every note in the line seems a bit OTT....Not that Wes wasnt harmonically specific - he could also be craftily chromatic
I also played this and realised that for me , the position of my LH might influence how I'd approach this. If I was playing off the pos III I might play E-G , D#-G , D with the G on the 1st string - which would be more in the pocket harmonically. But I can imagine Wes starting off in pos V with all notes on the second string (probably using 1st and 3rd fingers) (pos V)E-G , (pos IV) D#-F#, (pos III) D.Last edited by gator811; 08-05-2017 at 07:05 PM. Reason: no good reason...
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