Doo - Wah bit in It Dont Mean a Thing

**garybaldy** · 02-23-2025, 11:47 PM

What chords do you play under the Doo - Wah etc bit. ie. Bars 5 to 8 A section?
Thanks

**Mick-7** · 02-24-2025, 01:16 AM

What, after all this time you do not know your Doo-wah chords?! I am so disappointed in you, Gary!

Doo-wah chords are usually circle of 5ths, as they are in this instance, in Bb that is: C7 | F7 | Bb6 or Bbmaj7 |
To: D7(#5) | Gm, etc.

**garybaldy** · 02-24-2025, 06:03 AM

Originally Posted by Mick-7

What, after all this time you do not know your Doo-wah chords?! I am so disappointed in you, Gary!

Doo-wah chords are usually circle of 5ths, as they are in this instance, in Bb that is: C7 | F7 | Bb6 or Bbmaj7 |
To: D7(#5) | Gm, etc.

You are jumping to conclusions! I'm asking what you guys do!!!

**Hep To The Jive** · 02-24-2025, 06:36 AM

Originally Posted by Mick-7

in Bb that is: C7 | F7 | Bb6 or Bbmaj7 |
To: D7(#5) | Gm, etc.

correct

**garybaldy** · 02-24-2025, 06:53 AM

Originally Posted by Hep To The Jive

correct

I've always done that but the melody note on the F7 is a Bb.
What about C7/// Gb7/// Cm7 (over F)/// Bb/D7#5/ or C7/// C#dim//// Bb6/// D7/// ?

**Christian Miller** · 02-24-2025, 07:36 AM

Originally Posted by garybaldy

What chords do you play under the Doo - Wah etc bit. ie. Bars 5 to 8 A section?
Thanks

Yeah it's just a II V I, C7 F7 Bb

What get's everyone bent out of shape is that the melody 'doesn't fit the chords' which means that we have the Bb over the F7 chord which 'breaks the rules'* so you'll often see Dbo7 there, and I see why it's there but Ellington clearly just has a II-V-I there in the rhythm section.

There's some nice possibilities for reharms.

I quite like F#maj7 Bmaj7#11 Bb6 there

* if you learn music real good from a book and fear the AvOiD NoTeZ!!!!!!!

**AllanAllen** · 02-24-2025, 10:16 AM

I play the iReal changes which have the diminished on turnaround 1 and II V I on turnaround 2.

Turnaround 1 also ends on a Valt for the G- in bar 1. I've noticed a lot of these iReal changes, or RB changes, are turnarounds that should be fluid.

**Christian Miller** · 02-24-2025, 12:03 PM

Originally Posted by AllanAllen

I play the iReal changes which have the diminished on turnaround 1 and II V I on turnaround 2.

I've seen a few people have those changes, not just iReal. I have played them and all sorts the past. But I don't know where they hail from Ellington has C7 F7 Bb as a I say. And TBH whatever you play on head it's probably best IMO to stick to C7 F7 for the solos.

Incidentally, one nice variation for the A section is to play

G- G-^7 | G-7 G-6 | Eb7 C7 | Db7
C7 | F7 | Bb | D7 ||

In this case I wouldn't play Db7 for the solos but the regular G-

Turnaround 1 also ends on a Valt for the G- in bar 1. I've noticed a lot of these iReal changes, or RB changes, are turnarounds that should be fluid.

Yeah you don't want to take those things too literally.

**MarkRhodes** · 02-24-2025, 01:26 PM

Originally Posted by Christian Miller

Yeah it's just a II V I, C7 F7 Bb

What get's everyone bent out of shape is that the melody 'doesn't fit the chords' which means that we have the Bb over the F7 chord which 'breaks the rules'* so you'll often see Dbo7 there, and I see why it's there but Ellington clearly just has a II-V-I there in the rhythm section.

!!

This reminds me of Mickey Baker's book (Volume 1). He talks about lines that "rub against" the chords. He teaches such lines and where to play them, but he doesn't explain why they work.

**Christian Miller** · 02-24-2025, 01:50 PM

I mean it’s a pedal tone.

It’s actually really common to have a root in the bass against a V7 chord in classical music, Bach does it all the time as does Mozart et al.

IIRC with the root in the treble it is associated with Russian music? Tbh it’s been about 20 years since I may have read that. I’ll have to research.

Sent from my iPhone using Tapatalk

**garybaldy** · 02-24-2025, 02:19 PM

Originally Posted by MarkRhodes

This reminds me of Mickey Baker's book (Volume 1). He talks about lines that "rub against" the chords. He teaches such lines and where to play them, but he doesn't explain why they work.

I think there's one of those in Just One Of Those Things but I can't remember where at the moment.