-
Originally Posted by ragman1
That was an excellent listen for today...thanks for that!
Looks like she was cappoed at 1 that put her in Db.
The song is in G6 to my way of thinking and is a:
II V I IV VII III7 I ...so no mysteries there.
-
11-21-2017 03:50 PM
-
I do this all the time when improvising but I don't think it would work when comping. Originally Posted by jmz
In terms of pitches, the main difference between the chord in measure IV and the preceeding one is that the former has Mi and the latter has Fa instead.
Basically, the Mi pitch sounds good over the IV chord (it's its 7th), but the Fa pitch sounds bad over the I chord (it's a half tone above its 3rd and it clashes badly with it).
Therefore, the comping must move to the IV chord because the improviser is very likely to emphasize Fa (perhaps even choose it as "land tone"), and your aim is to make her sound beautiful.
All of the above, broadly speaking, as indeed you can use Fa over I when improvising (as passing tone, on a chromatic approach, in rhythmically weak places, etc. etc.)
The improviser is free to use the Fa or ignore the change.
When improvising, being less busy with the task of nailing changes allows you to explore melodic motifs more freely. This is allegedly the reasoning that led to the development of modal jazz, and you can apply it (to a lesser extent) to tonal too. Originally Posted by ColinO
Cheers,
Alex
-
-
There's also this page that offers a few more historical precedents (e.g. Tchaikovsky's 'Hamlet') and relevant clips: Originally Posted by christianm77
Autumn Leaves (Les feuilles mortes) | Songbook
-
One way I like to look at Autumn Leaves and similar progressions is as a development of a harmonisation of a descending scale. These descending diatonic movements are intimately connected to cycle fourth motion, and the melody of autumn leaves obviously shows this. Originally Posted by PMB
-
autumnleavesverse.pdf
If you think of this song as written in G ^ (G6) then there is an interesting III 7 - II that comes from the verses as shown here.Last edited by WILSON 1; 01-01-2018 at 09:53 AM.
-
Talking in Gminor here
Yes I leave out the Eb maj7 frequently in comping (and soloing)
The IV chord , you don't need it ...
G7 (or Bdim) is nice at the end of the first A section tho ...
-
Not to derail, but extra points, ragman, for knowing (or just referencing) Eva Cassidy. Originally Posted by ragman1
-
Cheers, M-ster. There's also an illuminating section on that video in the Songbook link (the whole of which is marvellous and should be compulsory reading).
'At the Autumn Leaves Page of EvaCassidy.org, guitarist Keith Grimes (former lead guitarist of the Eva Cassidy Band) comments on Cassidy’s interpretation, suggesting that one of the reasons for the significant variance of her version is that she didn’t know her way around at least one of the chords played in most covers of the song.
"I really like the fact that she doesn’t use the normal chords to ‘Autumn Leaves.’ There’s a set of chords that 99% of the population is out there playing, and Eva does something that’s just slightly different. It’s refreshing. I know it’s because the minor seven flat five that’s in there, that most people play, is a chord that she didn’t know." '
-
Once you learn certain progressions or cycles, the fun then begins with reharmonizing it! As a very good upright bass explained to me once I know what racetrack we're on,LOL!
Reply With Quote
Recommandations for Hollowbodies for $600 and under?
Today, 05:20 AM in Guitar, Amps & Gizmos