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Originally Posted by Liarspoker
The next harmonic function is in Emin: this is a standard minor ii-V-i function. Indeed, this progression occurs in so many jazz tunes that it is absolutely essential to understand and master it. It is composed of the ii chord, which is a half-diminished or m7b5 chord, followed by a V chord and then the i chord.
Emin and G of course share the same key signature. But in the minor ii-V-i the V has a note not in the key signature: the 3rd. In Emin, the V chord is B7, which is B D# F# A. The D# is not in the key signature; this is what gives the minor ii-V-i it's unique tension and resolution in this song.
What a great tune to discuss!
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08-02-2012 12:33 AM
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Originally Posted by Cunamara
Minor is its own template. It is the norm to use D# letting you open up HM and MM into this mix...I view the tune as being in E-. One does not have to play E-M7 to substantiate key, but it is always desired to have the V chord major, in this case B7... You may choose to add the b9 or b13 (E HM), which you indeed see in the bridge. F#-7b5 B7b9 / E-...You may play E-, E-6 or even E-7 with no ill effects to the harmony. Or during the chorus you may treat B7 as B7b13 (E MM) For something different. Limiting yourself to G leaves you very little choices. You might as well not analyze it at all and just play chord tones and chromatics...
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for all you who aspire to play with others, you should know that although E minor/G major is the original key (and in the old, illegal real book), most of the rest of the jazz world plays it in G minor/Bb major (blame this on miles). draw your own conclusions.
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Originally Posted by brwnhornet59
Of course, as I pointed out, there is a difference between G and Emin which saavy players attend to and exploit.
This chart is in one sharp which is both G and Emin, mostly in alternating four bar phrases. Trying to pretend that it is in one or the other creates problems.
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Originally Posted by randalljazz
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I've played it with a few vocalists and quickly realized I need to be able to play it in any key.
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Originally Posted by fep
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Originally Posted by Cunamara
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i view it as ii V I IV major and then ii V Im
i also mainly play it in Bb/Gm key. I also like to see the whole thing as a minor key and float over the changes and include all kinds of ideas coming from different harmonic viewpoints.
it is a tune i can get bored of quite quickly too... i like the bridge ii V's (Gm7 C7 Fm7 Bb7)
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Originally Posted by fep
Until I read this thread I saw this progression the same way Tom did, alternating between the major and relative minor, but fep's comment here has changed my opinion. When I listen to it, I don't hear the Gmaj as resolving to the tonic, so I guess I think fep is right.
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Originally Posted by GuitarOrb
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Definitely as A- / D7 - Gmaj7 a ii / V7 / I7
It's a II-V progression in G...simple as that...
Lesson #91: Days Of Wine And Roses as played by...
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