Voice-leading Lines

[AllanAllen]

One I use all the time for the long IV Ellington bridge is

Cmaj

xx555x
xx545x
xx525x
xx545x

[pamosmusic]

Very nice, I wrote it out below

Dm - G7

Dm7 x532xx
Dm+7 x533xx
G7 x534xx

Or if no ii V …

Dm x532xx
A7 x423xx
Dm6 x534xx

[pamosmusic]

One I use all the time for the long IV Ellington bridge is

Cmaj

xx555x
xx545x
xx525x
xx545x

The Mickey Baker Major Vamp. Classic. I’ll add it.

Based on our turnaround theory it could also be

xx555x
xx546x
xx525x
xx343x

or some such (C G7 C6 G7 etc)

[AllanAllen]

Or if no ii V …

Dm x532xx
A7 x423xx
Dm6 x534xx

So this is a long ii?

[pamosmusic]

So this is a long ii?

or tonic minor maybe?

The length of the voiceleading is pretty flexible for all of these. You could have that line cliche over four measures like Funny Valentine, or over a single measure like in a montuno or something

[PMB]

Yah that stepwise descent to 6 usually used to modulate to the dominant (V) in minor. Used all over.

Whisper Not is like a thorough study of that but it’s so common. GDS, Black Orpheus, etc etc

The latter is a move I associate with JS Bach. He uses it in the prelude BWV999 (the one in Dminor). Also first three chord of Knives Out by Radiohead which is a clever set of changes.

A lot of stepwise bass motions… really don’t seem discussed as much as cycle progressions but they are the backbone of loads of stuff. Jobim springs to mind too.


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Stepwise bass is all over Benny Golson tunes such as Whisper Not and Along Came Betty.

Both descending and ascending chromatic movement occurs throughout Jobim's O Grande Amor. Here's my own chart with a few tweaks (for instance, I changed the E7b9 to Fo7 in bar 6 followed by Am7/E to extend the sequence):

[Christian Miller]

Stepwise bass is all over Benny Golson tunes such as Whisper Not and Along Came Betty.

Both descending and ascending chromatic movement occurs throughout Jobim's O Grande Amor. Here's my own chart with a few tweaks (for instance, I changed the E7b9 to Fo7 in bar 6 followed by Am7/E to extend the sequence):

I don’t actually know that one- I’ll check it out


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[PMB]

A common inner voice movement played by everyone from George Van Eps to Jack Wilkins (Barry Harris often mentioned these types of moves in his workshops as well):

[pamosmusic]

An obvious one (or two) ... the blues turnaround ...

5 b5 4 3 ... below ... 3 b3 2 1

Play them separately and they're nice little guide tone lines over a tonic chord. Play them together and it's the little turnaround cliche for every blues tune ever.

[pamosmusic]

A common inner voice movement played by everyone from George Van Eps to Jack Wilkins (Barry Harris often mentioned these types of moves in his workshops as well):

Ahh of course. Added it to the OP.

[PMB]

Ahh of course. Added it to the OP.

Thanks Peter. Just noticed that it should be 7 6 #5 6 rather than 6 5 #4 5 in the OP. It's an enclosure so any variation will work, eg, triplet with 7 #5 6.

[pamosmusic]

Thanks Peter. Just noticed that it should be 7 6 #5 6 rather than 6 5 #4 5 in the OP. It's an enclosure so any variation will work, eg, triplet with 7 #5 6.

whoops. it is done.

[pamosmusic]

I like this one a lot.

It occurs to me why ...

I've been playing Moonglow today. I called it on a gig Friday night and it was a little more slippery than I would like, and that cool hit at the end of the A section is ...

G6 Bbdim7 Am7 Bbdim7 G

which comes out to

B Bb A Bb B (3 b3 2 b3 3) over a root and fifth pedal

[PMB]

The melody to Pent Up House by Sonny Rollins is almost entirely built around a drawn-out version of that phrase.

[AllanAllen]

The melody to Pent Up House by Sonny Rollins is almost entirely built around a drawn-out version of that phrase.

Another one of my favorites.

[Mick-7]

George Van Eps' Harmonic Mechanisms books are an encyclopedia of this sort of stuff.