Analyzing

[pamosmusic]

I'm feeling spicy today, Bobby.

[Bobby Timmons]

Lol, that's a good way to be. Funny picture from work.

[AllanAllen]

Is that the lady making moves on you?

[Bobby Timmons]

I so wanted to take a picture of Yaz walking away but that's unethical lol.

After she quit she came in with her husband to get some papers and she was wearing this short pleated skirt. I was all dear sweet lord jesus.

Right now I'm chipper with this girl Shania. She's not married. Just has a bf.

Also, I have the hots for this homeless chick who comes and steals but I had to ban and I have to tell myself not to mess with that.

[pauln]

Funny picture from work.

New style of lunch box?

[Bobby Timmons]

I dunno what that is.

[Christian Miller]

Not sure if it’s above but the
B-7 E7 G-7 D7 Fmaj7
Is a sub for the orignal
Abo7 G-7 C7 Fmaj7
which should be more familiar

Non functioning ii Vs are usually a bebop era sub for dim chords.

Analysis in standards harmony is more about recognising combinations of chords that crop up a lot than the chords themselves.

It’s good to learn a lot of songs, compare different versions of the same song, and get used to playing them in different keys. Analysis in this way becomes like a shorthand where it’s possible to quickly communicate the gist of a tunes chords without going into a description of every chord (eg honeysuckle A section, rhythm B. And so on.)

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[ragman1]

Here we go :-)

[pamosmusic]

Not sure if it’s above but the
B-7 E7 G-7 D7 Fmaj7
Is a sub for the orignal
Abo7 G-7 C7 Fmaj7
which should be more familiar

Non functioning ii Vs are usually a bebop era sub for dim chords.

Analysis in standards harmony is more about recognising combinations of chords that crop up a lot than the chords themselves.

Sent from my iPhone using Tapatalk

I said Fdim7 but yeah.

[ragman1]

Quick afterthought...

(edit: 0.50 I said the Cm and the A were put in by Miles. Obviously not the Cm, just the A)

[grahambop]

Not sure if it’s above but the
B-7 E7 G-7 D7 Fmaj7
Is a sub for the orignal
Abo7 G-7 C7 Fmaj7
which should be more familiar

I’ve got a version by Scott Hamilton where they use that diminished chord, sounds good.

[ragman1]

Not sure if it’s above but the
B-7 E7 G-7 D7 Fmaj7
Is a sub for the orignal
Abo7 G-7 C7 Fmaj7
which should be more familiar

Non functioning ii Vs are usually a bebop era sub for dim chords.

Is this the Stella thing? I thought the original was Bbo (or even Dbo). Where did the Abo come from?

[pamosmusic]

Is this the Stella thing? I thought the original was Bbo (or even Dbo). Where did the Abo come from?

Ah ragman.

This is your Alone Together example.

[ragman1]

Ah ragman.

This is your Alone Together example.

Ahhhhh

Yes, I see. Sort of turns it into a Ab7b5 (D7#11) sound between the two G minors. Quite nice. Better than Bm7/E7 anyway.

[Mick-7]

Re: the original score of Stella by Starlight:

So Peter was correct about the first chord (the movie score is in Eb Major).

[pamosmusic]

Re: the original score of Stella by Starlight:

So Peter was correct about the first chord (the movie score is in Eb Major).

Note that this is in a different key. I said first chord Bbdim … that’s when the tune resolves in Bb. In this case the first chord is Ebdim when the tune resolves in Eb.

So same thing, but worth clarifying.

[pamosmusic]

Ahhhhh

Yes, I see. Sort of turns it into a Ab7b5 (D7#11) sound between the two G minors. Quite nice. Better than Bm7/E7 anyway.

Not quite sure where you get that. Abdim is a really common turnaround chord, written into versions of Easy to Love, etc. Or the F dim is a really common way to get back to the tonic. I like Christians better in this case, because it’s going to the ii before the I (Embraceable You). Usually the common tone diminished where the root is the same as the tonic chord is a way of embellishing tonic (I Remember You, If I Loved You). Also it can be written as the #ii dim and resolves up to I in first inversion … also Bewitched and some other tunes.

Another thing I think stems from this movement is the dominant resolving up a half step. Like in bar six of Like Someone In Love (in some versions) … or resolving up to the IV chord in Someday My Prince or Sunny Side of the Street or Bewitched or or or

Lovely sound that.

[ragman1]

Not quite sure where you get that.

From Christian:

Not sure if it’s above but the
B-7 E7 G-7 D7 Fmaj7
Is a sub for the orignal
Abo7 G-7 C7 Fmaj7
which should be more familiar

[pamosmusic]

From Christian:

Thats an Abdim7 … Ab B D F … not Ab7b5, which would be Ab C D Gb

(don’t at me on the enharmonics)

[Mick-7]

Note that this is in a different key. I said first chord Bbdim … that’s when the tune resolves in Bb. In this case the first chord is Ebdim when the tune resolves in Eb. So same thing, but worth clarifying.

Your previous post:

I said Fdim7 but yeah.

The movie score may be different than the original chart, which started out on the VIIm7b5 chord > VII7 > IIIm7, etc.

[supersoul]

You said:

So they don't really have any unidirectional ribbon mics?

ChatGPT said:

It seems that Sweetwater doesn't list any unidirectional ribbon mics specifically

The Beyer M160 is a hypercardioid ribbon microphone. I've had a M130 for many years. It is a figure-8 and I like it a lot.

[pamosmusic]

Your previous post:

Talking about two different tunes there, cat.

Christian was talking about Alone Together. I had called the Bm E7 an Fdim and Christian called it Abdim. Which of course are the same pitches but the name should reflect the function, and Christian’s answer is probably better.

And for whatever this is worth ... probably not much ... Em7(b5) to A7 is a diminished sub and often traded in and out with the ii-V of the relative major Gm7 to C7. So with those you get Gm7 C7, Cm7 F7, Fm7 Bb7, Eb ... which is not weird at all. It's just shades of that diminished chord that starts the tune in the old movie version (and I'm fairly certain Peter Bernstein knows this).

That Bm7 to E7 in Alone Together is lovely. It takes a detour back through the regular ii-V but is often a post-bebop era sub for the common tone diminished, in this case Fdim7.

[Mick-7]

Talking about two different tunes there, cat.

Christian was talking about Alone Together. I had called the Bm E7 an Fdim and Christian called it Abdim. Which of course are the same pitches but the name should reflect the function, and Christian’s answer is probably better.

Oh sorry, guess I was Alone Together with Stella by Starlight. But I wouldn't be thinking subs at all in AT, it just goes to the parallel major key there (Dm>Dmaj.)

[ragman1]

Thats an Abdim7 … Ab B D F … not Ab7b5, which would be Ab C D Gb

(don’t at me on the enharmonics)

Sorry, quite right. I can't keep up :-)

[pamosmusic]

Oh sorry, guess I was Alone Together with Stella by Starlight. But I wouldn't be thinking subs at all in AT, it just goes to the parallel major key there (Dm>Dmaj.)

Part in question was prior to that ...

It's the three bars before the ii-V to D major. And that Bm and E7 comes between two measures in F. So ragman was asking how it relates in that context.