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Originally Posted by AllanAllen
I've just read some ideas in other threads that question the usefulness / accuracy of the functional / roman numeral analysis. Those are related specifically too classical music, but I'm wondering if the more experienced players are beyond the type of thing I'm doing above ??
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03-12-2023 02:32 PM
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Originally Posted by AllanAllen
If you add a low A, you get A7b9.
A7 is the vanilla V of D.
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Originally Posted by Victor Saumarez
Playing ballads of any kind is a challenge quite aside from uptempo bebop chops.
Pat Martino can do no wrong though….
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Originally Posted by mjo
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Originally Posted by Christian Miller
I tend to work off of chord "grips". ...you talked about that in one of your vids and mentioned it as a Bernstein type approach ... made me feel a lot better about it -lol. Any scale, or passing tones usually come out after I've played through a few times.
The big idea with assigning function was to help me recognize similar movement as it comes up. It may be though that the best thing is just to learn more tunes
Thanks Christian
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Originally Posted by rpjazzguitar
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Originally Posted by mjo
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Originally Posted by Christian Miller
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If we're talking about Insensatez then it would be VI7/3rd but I don't see it as very unusual or magical. Maybe the very first time you see it!
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Originally Posted by Christian Miller
Then I have this from rags:
it would be VI7/3rd
I think what I'm seeing is this system breaking down as a useful tool for me. I was taught, as a beginner to break these tunes down into key centers. The point was, of course to know what scale too use. I tend to think harmony first these days, scales work themselves out as I get familiar with the tune.
So, thank you both ! You've taught me something, whether you meant to or not
...what's got me now is how I ended up with a D7 arp over that G9/B. If I can make sense of that, I'll take it on the road ... or to the next tune.
Cheers,
Mike
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Originally Posted by mjo
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Sometimes "theoretically wrong" sounds right. Don't let theory get in the way of your ears, there's no time for theory on stage.
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I didn't say theoretically wrong. I played it. It plays wrong, simple as that.
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If it sounds good to you…
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Originally Posted by mjo
Not unusual. Corcovado does a similar ish thing (Am—>F) for instance. In old standards rep, we have Sweet Lorraine going from F to Dm and then to Bb via a similar progression albiet without that weirdo G7/B (instead Dm Dbo7 Cm7 F7). Sure I could think of some more. It’s a fancy way to go Dm F7 Bb really.
That Dm could start as a iii or a Im depending on context. Here it starts as a Im
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Originally Posted by Christian Miller
First with D7 arp over G7/B, then with Dm arp. Sorry about the shouting, I couldn't help myself, seriously!
(I wouldn't actually play it with arps in any case, or C harm, I'd use G lyd dom)
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Egg on my face, I would not be pleased with that D7arp if I played it.
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! LOL rags. ..not joking, but quite possibly mad - proper english definition.
My results are not quite as shocking as yours, not fair to say since I can't post a recording of what I'm doing. The F# usually follows a G from the previous chord. Then I have a moment to diddle around, ( sometimes a d9 on that D) and bring it into the 7th and/or 5th of the Bb. I was drawn to that F# just through practicing the tune, it seems a nod to the nature of the melody, ...or a horrible mistake..maybe I'll get over it.
I posed the question because I didn't know if this was something everyone knew about, ..or purposely avoided
-cheers,
Mike
Edit: on the C-6 I'm often walking down a C- triad to G- triad (you could say) into that F# ... if you call it F#-7b5 does that help ?Last edited by mjo; 03-31-2023 at 04:17 PM.
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Originally Posted by mjo
on the C-6 I'm often walking down a C- triad to G- triad (you could say) into that F# ... if you call it F#-7b5 does that help ?
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Originally Posted by ragman1
You may have been converted ??... I'm still diggin it.
-cheers
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OK, so Cm triad for Cm6, G triad for G7/B. But the next chord is BbM7. Where does this F# and F#m7b5 come in?
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Originally Posted by ragman1
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Okay, as before then, D7 arp over G7.
I think you should let us hear it somehow. Hearing is believing :-)
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