Something interesting about the chorus of 'It Could Happen To You' (sheet music)

[Christian Miller]

Chords are lame. I’m not going to play them any more

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[pamosmusic]

P.S. - The chord changes in the chart that brent posted are almost identical to Patt's Vanilla chord changes, just a couple of insignificant differences I think.

… he said five pages later

[pamosmusic]

As I'm sure you know, major 6th & 7th chords may or may not serve the same function, and I don't normally replace a V7 chord with a IVm chord, do you?

All the time. You probably do a bit more than you think.

Kind of a down the middle bebop sound for a V7b9

the ii part of the back door ii V …. Hipper using the tonic minor sounds though

[kris]

The Dbm and the Eb7 don’t both get you to I? Ab6 and Abmaj7 don’t serve the same function?



Did it? You just posted other links of lead sheets. Not sure why that should have more weight than anything else.

I don’t really know why this invalidates the point anyway — yeah — people could play Dbm instead of Eb7, A7 instead of Eb7, C7 to Fm instead of Eb7 to Ab … but why would they choose to do so? Is the artistic choice just irrelevant? As an improviser, I find myself more interested in the flexibility I have to make different choices and maybe not interested enough in the cumulative effect of those choices. Composers and arrangers tend to be much more cognizant of those things — so why not pay attention?

You constantly asks questions...?The strangely provocative nature of the conversation.
After all, it's going nowhere.

[Mick-7]

All the time. You probably do a bit more than you think.

Kind of a down the middle bebop sound for a V7b9

the ii part of the back door ii V …. Hipper using the tonic minor sounds though

Well, let's see, IVm would just be a IIm7b5 without the root, right? - or a suspended V7b9 chord. But in this song it's actually a IVm^7 chord (in bar 10). There's a major 7th in the melody, so a V9b5 would be practically the same chord (Gb9b5 instead of Dbm^7).

Re: the piano arrangement that brent shared, the chords in it that seemed odd to me are just a product of piano voice-leading, e.g., the Db/F in bar 5, and C+ to Cm7b5 (to F7) in the turnaround, which doesn't work so well on the guitar, although C7+ > Cm7 > F7b9 is nice.

[pamosmusic]

You constantly asks questions...?l

Imagine how my parents must’ve felt with me as a five year old.

[kris]

Has anyone ever played this beautiful jazz standard at a concert in front of an audience?
If so. Then please tell us which version of chord changes it was.
Or maybe someone who played these chord changes were not comfortable?
There is no end to this discussion.
ps
You can do that with any jazz standard – it's a waste of time.
Musicology, history,jazz theory – quite a confusion in our heads.

[pamosmusic]

Well, let's see, IVm would just be a IIm7b5 without the root, right? - or a suspended V7b9 chord. But in this song it's actually a IVm^7 chord (in bar 10). There's a major 7th in the melody, so a V9b5 would be practically the same chord (Gb9b5 instead of Dbm^7).

Yeah that’s pretty typical in those cadences … m3-4 of Just Friends or m7 of Stella by Starlight. Actually that iv minor sound is hidden alllllll over that tune.

Re: the piano arrangement that brent shared, the chords in it that seemed odd to me are just a product of piano voice-leading, e.g., the Db/F in bar 5, and C+ to Cm7b5 (to F7) in the turnaround, which doesn't work so well on the guitar, although C7+ > Cm7 > F7b9 is nice.

Yeah that’s a pretty move. Kind of the reason this is a potentially useful endeavor.

[kris]

Imagine how my parents must’ve felt with me as a five year old.

Poor parents - such an intelligent child.
Sometimes I have the impression that I am in kindergarten.
And it's very cheerful and fun here.

[Mick-7]

Has anyone ever played this beautiful jazz standard at a concert in front of an audience? If so. Then please tell us which version of chord changes it was. Or maybe someone who played these chord changes were not comfortable? There is no end to this discussion.

Yeah, maybe we should just follow Christian's lead....

Chords are lame. I’m not going to play them any more

Sometimes I have the impression that I am in kindergarten. And it's very cheerful and fun here.

Except when the children fight on the playground.

[kris]

Yeah, maybe we should just follow Christian's lead....

These are jokes without meaning, they are Christian's domain.
Word game... or something like that.
Best
Kris

[pamosmusic]

Has anyone ever played this beautiful jazz standard at a concert in front of an audience?
If so. Then please tell us which version of chord changes it was.
Or maybe someone who played these chord changes were not comfortable?
There is no end to this discussion.
ps
You can do that with any jazz standard – it's a waste of time.
Musicology, history,jazz theory – quite a confusion in our heads.

Ive probably played this 200 times in front of an audience? I don’t know. It’s one of the first couple tunes I’ll call at a jam session, if given the opportunity. But here’s one from a pickup gig a few years ago:

What version of the changes? The jazz two-fivier ones. Video looks like the bass player might be using iReal even.

[pamosmusic]

Poor parents - such an intelligent child.
Sometimes I have the impression that I am in kindergarten.
And it's very cheerful and fun here.

My twelfth grade English teacher asked what I wanted to study when I went to college.

I said “music.”

She said … “oh … but you’re such a smart kid.”

[starjasmine]

My twelfth grade English teacher asked what I wanted to study when I went to college.

I said “music.”

She said … “oh … but you’re such a smart kid.”

When I was in college, I took a meteorology class to fulfill a general ed science requirement. First day of class, the prof asks everyone what their major was. When I replied "music" he said "You're probably going to have trouble with the math in this class." My response: "Oh, is it harder than the AP Calculus I proficiencied out of?" He kind of didn't like me much from that point onward.

[kris]

Ive probably played this 200 times in front of an audience? I don’t know. It’s one of the first couple tunes I’ll call at a jam session, if given the opportunity. But here’s one from a pickup gig a few years ago:

What version of the changes? The jazz two-fivier ones. Video looks like the bass player might be using iReal even.

You played a nice solo...key Eb-maj.
You are fluent in this standard better than the bass player.
What are you trying to change about it?
Maybe you're bored with the chord changes you play?
I've played this tune a dozen times in different formations – the chord changes were very similar to yours – maybe even the same.

[kris]

My twelfth grade English teacher asked what I wanted to study when I went to college.

I said “music.”

She said … “oh … but you’re such a smart kid.”

When I was applying to music school, I wanted to get into the guitar class. Unfortunately, such a class did not exist.
I was offered to study the classical double bass .
When the classical guitar class was established, there were 50 willing candidates.
Two places for school in the classical guitar class.
So I played classical music on the double bass for a few years.
I graduated from music school with a diploma on classical guitar.
Funny!!

[kris]

Do you like it in G:

[GuyBoden]

Do you like it in G:

Yes, G is ok, but I can only remember the old style chords, see below.



I failed to remember the newer Real Book chords, whilst playing the song with a friend the other day. I resorted to the old style chords.

[Christian Miller]

Imagine how my parents must’ve felt with me as a five year old.

A funny one happened to me. I constantly use pedagogical questioning in lessons which I think is good practice, but one time a kid looks at me and says ‘why are you asking me. Aren’t you supposed to be the teacher?’

Some people really want to be told what to do. I’ve never quite understood that.


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[Christian Miller]

These are jokes without meaning, they are Christian's domain.
Word game... or something like that.
Best
Kris

It’s not really a joke.

I think guitarists need to get out of thinking chordally. It’s a particular pitfall of the instrument - we all start off with the shapes.

As Barry often quoted Coleman Hawkins ‘I play movement, not chords.’ Hawkins was trained as a composer.

Chord symbols and so on are such a limited way of looking at harmony. Harmony is not really about stacking notes vertically. None of the great composers thought in this way. The challenge we often face as jazz musicians is to make chord symbols into music. But learning a song should be a bit deeper - melody, basslines. Middle lines and countermelodies. Any chords are simply vertical slices of something richer and more musical.

On a more literal level, I do sometimes wonder if I could play a whole gig just comping in single notes. Does a good soloist really need someone to play chords for them? Warne Marsh thought not. So comping needs to do something else, provided we’ve gone beyond the “rhythm section as Aebersold playalong" phase.

Freddie Green ended up here in his own way.

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[Christian Miller]

Has anyone ever played this beautiful jazz standard at a concert in front of an audience?

Yeah, probably hundreds of times?

Then please tell us which version of chord changes it was.

It has varied over the years as I got to know the song better. Usually I end up with something simpler as a mental map of the tune over time.

This is what I make the basic outline of the song. You can sub it to hell and back if you like, but this is my basic reference.

Another tune that gets played a fair bit is Fried Bananas. Same changes.

[Christian Miller]

When I was in college, I took a meteorology class to fulfill a general ed science requirement. First day of class, the prof asks everyone what their major was. When I replied "music" he said "You're probably going to have trouble with the math in this class." My response: "Oh, is it harder than the AP Calculus I proficiencied out of?" He kind of didn't like me much from that point onward.

They really don't like that sort of thing.

Someone said to me in a college audition 'do you think you'll be able to deal with the demands of studying academic music?' and I unwisely said 'I have a degree in astrophysics, I think I'll be OK.'

I didn't get it haha.

[pamosmusic]

Do you like it in G:

Do you like it in a boat? Do you like it with a goat?

[djg]

i love you in blue
i love you in red
but most of all
i love you in blue

[grahambop]

On a more literal level, I do sometimes wonder if I could play a whole gig just comping in single notes. Does a good soloist really need someone to play chords for them? Warne Marsh thought not. So comping needs to do something else, provided we’ve gone beyond the “rhythm section as Aebersold playalong" phase.

Yes that’s an interesting idea, I recently got some masterclass videos on comping by Lage Lund and Chico Pinheiro, and they both talk about comping with one note, Chico especially makes a sort of whole counter-melody out of it.

Also reminds me of something John Abercrombie said about Jim Hall on the Sonny Rollins’ ‘The Bridge’, there’s a track where Jim just plays single notes behind Sonny. Abercrombie said it was the best comping he’d ever heard or something like that, it was revelatory. (The track is Without a Song).