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04-15-2024 03:17 PM
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Thanks everyone. I thought + always meant #5. Unfortunately, this means I biffed a bunch of chords on my big band gig.
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I was responding to post #8:
" F#7+9 / F7+9 / | E7+9 / Eb7+9 /|
That's the version we used to use. Same #9 voicing, built in 4ths, moved chromatically downwards, which is a cool sound."
It implies he meant 7#9 chords (not F9+) but he may have meant: #9, #5/b13th (on top), because it has stacked 4ths.
F#7#5#9
x-9-8-9-10-10 (#5 on top, root in bass)
F#7#9b13
9-x-8-9-10-10 (b13 on top, 5th in bass)
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It's definitely a turnaround, it's a blues!
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Waynes version (bearing in mind the tune was reworked in rehearsal)
NRB has
F#m11b5 | F13#11 | E7alt | A7alt |
The US harmonic movement is noice as it often is with Wayne
E(addb6) --> G(addb6) --> Bb(add#4) --> F(addb6) or C(add#4)
But you know, I should probably check out what Wayne does. It won't be that.
It's interesting when you look at older charts... new charts often reflect the melody in the extensions. Often the composer's autographs don't actually do this.
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It's interesting how satisfying that move from A7alt to Cm feels, isn't it? Who'd have thunk it?
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Interesting that on his own version (on Adam’s Apple), Wayne basically just plays the melody (with some embellishments) during his solo on those sections.
I find playing Cm pentatonic over the A7 bit works quite well, sort of prepares the return to Cm.
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According to this transcription they first play:
F#m7b5 - F7#11 - Em7b5 - A7#9
and then it changes on the solos:
F#mb5 - F7#11 - E7#11 - A7alt
(occasionally the A7alt becomes an A7#9)
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You know what grinds my gears... alt chord symbols in changes. Every other chord symbol is exact notes except the alt chord.
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What I want to know - and which we'll probably never know - is why Wayne decided to write the 3-6-2-5 of Dm instead of Cm. My theory is he was
a) trying to be different
b) trying to wind up Miles
c)
Answers on a postcard.
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I thought B too. This'll wake 'em up :-)
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