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  1. #1

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    Hi everyone! I am expected to learn "Detour Ahead" To play with a quartet and singer in the near future.. Could someone point me in the right direction for soloing over it? We are playing it in C. I am having trouble because there are some weird changes (in measures 2 to 3 B7alt goes to Fmaj7.. i dont understand how that works).
    I try figuring out key centers and I'm getting stuck.

    Any help would be appreciated

    Edit:
    Also is the Eminor in the B section E dorian, aeolian, or phrygian?
    Last edited by Derekdaman; 06-11-2013 at 02:58 PM.

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  3. #2

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  4. #3

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    Quote Originally Posted by Derekdaman
    Hi everyone! I am expected to learn "Detour Ahead" To play with a quartet and singer in the near future.. Could someone point me in the right direction for soloing over it? We are playing it in C. I am having trouble because there are some weird changes (in measures 2 to 3 B7alt goes to Fmaj7.. i dont understand how that works).
    I try figuring out key centers and I'm getting stuck.

    Any help would be appreciated

    Edit:
    Also is the Eminor in the B section E dorian, aeolian, or phrygian?
    the B7#5 goes to E minor, the Fmaj7 being just an embellishing chord ( F - A - C are upper neighbor tones going immediately to E - G - B). play chord tones of F resolving accordingly, or just skip that chord for soloing.

    the E minor in the bridge is a plain old ii7 chord. call it dorian, if that is your approach.

    the tune is mostly cycle progressions and regular ii V's, with a back door cadence ms 6 > 7.

    chord tones with embellishments will always sound good.

  5. #4

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    Here's a version from a trio i gig with... check it out, if sounds interesting... we can discuss etc...
    Attached Files Attached Files

  6. #5

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    I really like this song, but then I was listening to Bill Evans play it!

    I agree, the A section goes around the cycle of fifths, but manages to stay near C -- by visiting G and F. If you play Balt notes over the Balt, those are the notes of C melodic minor, so it can sound just like a deke from C major to C minor, thus not that weird a jump.

  7. #6

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    All great analysis and approaches above... try these changes,

    //Cma7 F#13#11 / F9#11 B7alt. / Fma9#11 E-9 A-7 Eb9#11 / D9#11 G13sus G7alt./

    G-7 C13 G7b9 / F6/9 Bb13#11 / Cma7 A-7 Eb9#11 .../1st end Ab9#11 G13sus G7alt/...2nd end F#-7b5 B7alt //

    Bridge

    E-9 Fma9 / D-9 B7alt / Ema7 C#-7 / F#-7b5 B7alt /

    E-9 Fma9 / D-9 B7alt / Ema7 C#-7 / D#-11 Db9#11//


    //Cma7 F#13#11 / F9#11 B7alt. / Fma9#11 E-9 A-7 Eb9#11 / D9#11 G13sus G7alt./

    G-7 C13 G7b9 / F6/9 Bb13#11 / Cma7 E7#9 / A-7 Eb13 / D9 Ab13 G13sus / C6/9 G7b13 //

  8. #7
    dortmundjazzguitar Guest
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    Last edited by dortmundjazzguitar; 08-16-2013 at 02:50 PM.

  9. #8
    dortmundjazzguitar Guest
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    Last edited by dortmundjazzguitar; 08-16-2013 at 02:50 PM.

  10. #9
    dortmundjazzguitar Guest
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    Last edited by dortmundjazzguitar; 08-16-2013 at 02:48 PM.

  11. #10

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    Quote Originally Posted by dortmundjazzguitar
    the E minor is a I chord! not friggin dorian! this is just nonsense, sorry for being so blunt.
    acht!! you are correct---E minor is a tonic chord. the melody in that measure contains C natural, which could indicate aeolian or phrygian...or it could just be an embellishing tone.

    ...so, yeah, the bridge is in E, alternating between minor and major...

    ...opinions vary around here about cst---no need to go ballistic, dude.

  12. #11

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    Hey dortmundjazzguitar...

    CST...is just a tool to talk about details of "window-dressing" and "what chords mean".

    From the post above... what helped the OP more?

    The here... it's diatonic in "C" approach to "A" sections ...and the "B" section modulates to "E-". Now play for 20 to 30 years and use the trial and error method and get your ears together... It's all "window dressing".

    What do the ..."chords mean".

    Or try and teach the musical references and relationships commonly used in jazz composition... standard Jazz common practice and use organized teaching methods to learn... along with the required time on your instrument.

    The only madness is we the players bitching about everyone else and their teaching methods.

  13. #12

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    Quote Originally Posted by dortmundjazzguitar
    the whole A-sections are *diatonic* in C. there are no modulations. this is madness.
    Your moral outrage is duly noted. I didn't say modulation. If I were to give it a name, it would be "detour".

  14. #13

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    One thing I enjoy about this forum is discovering songs that to me were previously unknown. This one is a case in point. On YT I first listened to Bill Evans' version, but I like this track of Ella Fitzgerald apparently in her prime playing with the man, Herb Ellis, on guitar.



    I'm listening to Reg's recording with his vocalist and band - quite pretty, my kind of music. While I'm not familiar with this song, I like it very much. At work with no access to instruments and just listening to Reg's version, I find the song pretty sophisticated in terms of its bluesy jazzy harmonies and construction yet fairly straight ahead. Though I understand harmonic analysis, what I want with a song like this is just a recording to listen to and a melody with chords chart. I'll check my HL Fake book, but if I can't find it, I'll make my own transcription at the piano and with my guitar and Sibelius. But what's a bit funny is that I just use my ears and my intuition informed by my knowledge of musical theory. I just don't think about modes and scales with a tune like this. I want to get into the vibe and the groove. Nice solo and comping, Reg, and nice to hear you playing a ballad.

    Jay

  15. #14
    dortmundjazzguitar Guest
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    Last edited by dortmundjazzguitar; 08-16-2013 at 02:49 PM.

  16. #15

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    Hi dortmundjazzguitar...

    No I didn't miss your posting of basic chords of composer, and yes Herb Ellis is old school very vanilla player of which I still enjoy. His playing of tune is more a blues approach, maj and min.

    And yes I use the term diatonic.... with organizational relationships. I would even call the whole tune Diatonic... to C.

    But I would never play the tune that way... My post playing the tune, (in Bb), was just reading through tune with a quick basic head arrangement.

    My post was more of a rebuttal to your rants about different approaches to playing, understanding and discussing jazz.

    Reg

  17. #16

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    Finally got the chance to dive into this song tonight. Found a great video on YT of Herb playing this song live in a club. Beautiful in Db. But for creating an initial sketch of the song, I liked a Jane Monheit version in C, which just makes an initial analysis a little easier. And it lays out beautifully in C on the fret board, too. I would consider this song to be diatonic, blues influenced with that cool bridge in Em7 leading back to the G7 V chord. Sophisticated and very beautiful with a nice female lead vocal.

  18. #17

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    BTW targuit, it's especially appropriate to have Herb Ellis on that track.

    He was one of the co-composers of Detour Ahead.

    I've loved that tune for years.

    Has a bittersweet flavor to me.

    I play it as a solo chord melody, pretty much in a pre-arranged form, but this
    thread has encouraged me to introduce it to the group setting, with improvs

    There is a chart based on Bill Evans' "Waltz for Debby" album version.
    It's in Chuck Sher's New Real Book Vol 2 and it's in C
    Last edited by Moonray; 06-20-2013 at 05:27 AM. Reason: forgot to mention chart

  19. #18

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    [QUOTE=Reg;336472]All great analysis and approaches above... try these changes,

    Thanks for these changes, Reg, and the mp3 which has great examples of fills and solowork.

    Long time ago I know but I'm preparing to accompany a vocalist on this just now and the suggestions in this thread are great.