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oooh the slashes are bass notes, i thought they were bar lines
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02-06-2019 11:21 AM
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Originally Posted by christianm77
Pingu
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Actually I think you’ll find it’s #IV MINOR 7b5 ;-)
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Originally Posted by grahambop
I deserve at least half credit on that one, if not full credit!
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Originally Posted by christianm77
He thought for a second, and then actually smiled!"Why, yes. I remember that record. It was a long time ago."
I boldly replied, "Yeah..."
BTW, which change does DH advise us to use for the first chord of Stella (if that's in the book- I haven't read it in a long time)?
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Originally Posted by sgcim
I reckon he's a Bbo7 guy. But the Em7b5 A7 would be in red above....
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I'd like to hear that Tal record, Hyman is a monster on piano.
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Originally Posted by christianm77
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Yep, that's it.
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I just did a video about Stella
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Originally Posted by christianm77
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Originally Posted by joe2758
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Melody notes become part of the harmony (like it or not), which is evident when played on the same instrument (e.g chord melody). From a perspective of notation, reading, inverting, improvising and orchestration etc it's generally preferred to exclude the melody note from the chord symbol. But when writing, arranging, re-harmonizing etc it could be rewarding to view the melody as an integral part of the Harmony. It could sometimes radically change the picture of the song and how we approach it.
-What's beneath the surface of the original version?
"The dim-scale is the song"...don't know...I still don't see it that way. I don't question the authority of P. Bernstein or any member here, just want to dissect the song.
We have already concluded that each time the opening melody notes appear "Ta-Da"...it's over various dim7 chords (That we may substitute for m7/-5 on our sole discretion). -But then what?
The 2nd chord is an A7 of sort. No problem, Miles agrees.
In the third bar the melody note F is raised one octave and the resulting harmony becomes a loud and clear C7sus4. Hmmm. The 3rd is omitted! Oh my... Miles says minor. It's all right since sevenths on suspended chords are virtually always minor sevenths. -But why not just call it C7sus4?
Try this for fun: Play the melody without alterations over the following chord progression
E7sus4, A7sus4, C7sus4, F7sus4, F7sus4, Bb7sus4, EbMaj7
A very open sound, no drama. In a way it feels like major (there are no 3rds). Technically a 7sus4 chord is often viewed as minor chord (because the 4th would clash with a major 3rd), but it doesn't sound like minor. (Note: This is not the changes I play, just a way of looking at what's going on. A long series of suspensions that resolves in a Maj7)
Where's the 3rd in a dim7-chord? It's all over the place. So why not just let it go? It depends on the level of tension and "aching dissonance" that we like to create.
Now try this progression E7sus4-A7sus4-DMaj7. Play melody notes ("Ta-Da"); Bb-A over E7sus4 and D-C# over DMaj7
This is a way of looking at the transition from the first chorus to the second chorus (Harmonica lead).
A bit cheesy perhaps. No aching dissonances, just some suspensions that resolves in a sweet Maj7. No drama at all. But we can create tension and drama if we want to, by for example playing Ddim7 in the beginning of the second chorus (like Victor Young wrote it) instead of that romantic DMaj7.
No aching dissonances, no drama, (no fun?) but perhaps easier to understand. At least a different outlook.
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Also I put in the extensions to reflect the melody. The Real Book seems quite inconsistent in doing this to me....
Grant Green, What is This Thing
Today, 01:59 PM in Ear Training, Transcribing & Reading