Autumn Leaves C Section harmony... confused.

[PMB]

If using an Eb6 here, are there any nice sounding extensions that can be played on it? I'm doing the shell voicing x655xx, there's a 9 available on the second string but not sure it sounds right.

Eb6/9 works well there or Eb9 if you want to employ a dominant sound. The trick is to use smooth voice-leading and common tones. Possible voicings for the final bars might be something like this:

Eb6/9 or Eb9
x6556x or x6566x

D7#9
x5456x

Gm6
x5535x

[Christian Miller]

You know, I almost had a disclaimer in my original post SPECIFYING that I knew this wasn't about playing it. I'm interested in understanding the composition because I'm interested in songwriting. This is not helpful.

One of the most useful things for me in understanding subs has been to compare different versions of the same song.

One thing that often gets left out in these discussions is the melody. At that point the the melody you have a long climactic D note - long notes can be an opportunity to explore harmonies that go a little outside the key but still support the melody note.

[ragman1]

stylo -

So can you tell me how you're doing this? Are you saying you don't play any instrument at all? Or do you play a guitar or keyboard but only at home, not performing or anything? Or are you using a music application? You seem to understand chords, and so on, and you talk about shell voicings which implies some knowledge of the guitar. Although that could also apply to any chordal instrument.

See, I've been playing since I was a child so, in my mind and actually, I can't help but relate everything I see to an actual sound, feel, rhythm, progression, and so on. It's virtually impossible to separate the two, for me anyway.

The others here are discussing things with you using terminology that an experienced player would understand yet you say you're a beginner. Yet you seem to be responding positively to it. It is quite confusing.

The other point is that, as I think others have said, to really grasp the intricacies of composing/songwriting, focussing on only one tune is limited. Getting an overview is probably only possible after seeing what happens in many tunes because patterns begin to emerge. Like pieces of a jigsaw it starts to fall into place.

So could you explain how you're managing it all? Or am I missing something? This isn't a challenge, I'd actually like to know.

[grahambop]

Perhaps he’s playing it on a Stylophone?

[kris]

Perhaps he’s playing it on a Stylophone?

Great Stylophone take for Ragman's virtual jam.

[pingu]

1173979[/URL]]If using an Eb6 here, are there any nice sounding extensions that can be played on it? I'm doing the shell voicing x655xx, there's a 9 available on the second string but not sure it sounds right.

yes , it sounds good to me !

[ragman1]

Perhaps he’s playing it on a Stylophone?

Very nice. But if 'he' means stylo, she's a her. From, I believe, Washington DC, the centre of all kinds of strange goings-on :-)

[ragman1]

Anyway, her question about the green section's been answered, which is it's a connecting device. It occurred to me the same sort of thing happens in ATTYA so, with great artistic flair, I've produced this, also a lovely green colour.



And I'm sure there are lots of other examples lurking about in the songbooks.

[citizenk74]

, Stylo!

[ragman1]

I think she's disappeared. Once is enough for anyone :-)

[ragman1]

On the stylophone backing track (in Em) the Em stays the same but the bass descends (to F#ø).

[RunningBeagle]

Thanks, this is helpful. I have seen 1-6-2-5-1 but this is my first 3-6-2-5 turnaround.

Don't overthink it. III and I are both "tonic." Just play anything and don't emphasize Fa.