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Switching Dbm7 for F#m7 and Dm7 for Gm7. Seems okay to my ear, and the progression makes sense to me that way. But I don’t feel confident enough to just substitute chords by ear. No amp in the video, kids are asleep.
Last edited by AllanAllen; 01-14-2023 at 09:43 AM.
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01-14-2023 12:12 AM
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Sounds like you are playing
F#maj7 -> B9 - B7
Dbm7 -> D9 - D7
Dm7 -> Eb(9) - Eb(7)
I do analyses by ear when practicing in order to determine possibilities that suggest themselves, with attention to those which offer flexibility in performance. I think the typical stock chords are
F#maj7 -> B9
F#m7 -> D9
Gm7 -> Eb(9)
Here it is possible to conceive that all three change pairs as relatively "the same", where in hearing maj7th for the first chord of each pair the melody lead note becomes the maj7th of all three, and hearing the 13th for the second chord of each pair makes available if needed the little background line that descends from the 13th.
Conceiving is not the same playing; I may actually play it quite differently depending on the situation, but I will probably hear it like this
F#maj7 -> B13
Amaj7 -> D13
Bbmaj7 -> Eb(13)
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Originally Posted by AllanAllen
I try sometimes to reharmonize the bridge too.
To get a kind of "march".
I replace F#Maj7 by Ebmin9
But in fact it's just a voicing that stands for the same chord.
I sometimes replace it by Bbmin7, it is just my personal taste and it sounds like a surprise.
I also use tritonic substitution.
Your C#min9 sounds good because the 9th is in the melody.
I think you wanted to say this chord instead of B7.
In fact the melody works like this chord to chord.
7th to 3rd (F#Maj7 to B7)
9th to 3rd (F#min7 to D7)
9th to 3rd (Gmin7 to Eb7)
Then the cycle of 5ths you know
iii VI7 ii V
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Thanks! It’s cool I was doing something right.
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Those substitutions work well. To take is a bit further I change up the C#m7 to a C#m7sharp5. So the chord is spelt C#ABEG# (top to bottom). I do the same to the Dmin7 that leads to the Eb9. So the chord becomes DBbCFA… Just opens up the harmony a bit.
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Originally Posted by Roberoo
Last edited by ragman1; 01-15-2023 at 03:04 PM.
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Originally Posted by ragman1
:
C#ABEG#
and it leads to the D9.
Sorry for the flipped image. It was fine when I went to attach it.
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Roberoo -
Thanks, the picture's quite clear. That's how I'd do it too: x47454. It's a nice chord.
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Everybody has their way of getting through that bridge.
When soloing I think
F#ma7 - F#mi6
Ama7 - Ami6
Bbma7 - Bbmi6
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Originally Posted by Roberoo
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For those keeping score at home, so far are these suggestions:
[ Bbm7 Ebm9 F#maj7 ] --------------------------> [ B7 B13 F#m6 ]
[ Amaj7 Dbm7 Dbm7#5 F#m7 F#m11 ] ----> [ Am6 D7 D13 ]
[ Bbmaj7 Dm7 Dm7#5 Gm7 Gm11 ] ---------> [ Bbm6 Eb(7) Eb(13) ]
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Originally Posted by Lionelsax
Attachment 98266
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Originally Posted by ragman1
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No, it's a C#m7. You can make anything into an inversion if you want to just by changing the name. You can play a nice ordinary C major chord:
x 3 2 0 1 0
and call it a G6sus4/C if you like. Or even an Em#5/C. But it's a bit stupid :-)
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And the suggestion that Roberoo made was very good. Playing the C#m7 and Dm7 as m7#5 improves the sound a lot. And since I like demonstrations... :-)
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Originally Posted by ragman1
I love when you try to reinvent the wheel !
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Lionel, the C#m7 he's playing hasn't even got an F# in it!
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Originally Posted by ragman1
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Originally Posted by Lionelsax
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I talked about it before but nobody understood, your C#min7 you find it as a Bbmin7
I think you can't understand it unless you know a bit the tune.
Originally Posted by LionelsaxOriginally Posted by Roberoo
Well, it is not the more logical notation, you write it like this when you don't know what is about.
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Originally Posted by Lionelsax
I like the bass voice leading in this approach. C# leads to the D in D9. That transitions to Dm7#5 to Eb in Eb9.
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That's a bad effect, your b6 sounds like an inversion, leave it !
And play
Bbmin7 / % /F7alt / %
Dbmin7 / % / Ab7alt / %
Dmin7 / % / A7alt / %
I know that's completely stupid, at the end, the "original" bridge will always sound better.
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Don't get caught up in a conundrum of your own making. This started with Allan who said
Switching Dbm7 for F#m7 and Dm7 for Gm7. Seems okay to my ear, and the progression makes sense to me that way.
But I don’t feel confident enough to just substitute chords by ear.
(Personally, I think the Dm7 sounds okay. It's the C#m7 I'm not happy about. Subbing the iii of A maj may not be strong enough for the tune)
(But my bottom line was always I don't think the bridge needs a reharm anyway, it's pretty good as it is)
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Originally Posted by ragman1
A parrot, a donkey, then a sheep !
But you're still yourself !
Still interesting !
Great !
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I got my answer like 3 comments in and played it my way with a pianist on Saturday. It was fine. I wish I could play with other people more, this was my first time playing standards with someone and it felt like I barely had to do anything compared to wood-shedding where every mistake feels like it needs to be addressed.
16" 1920s/30s L5
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