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Originally Posted by pamosmusic
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11-07-2024 02:54 PM
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Cont'd...
Let's say the progression was Bm7 - Bbo - Am7 - D7. Do we take the Bbo as an F#7b9 and play B harm over it? Or A H/W dim?
How do we resolve it to the Am7?
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Originally Posted by ragman1
If I don’t want to make a big thing of it, I usually like to express a F# triad with an added b9, which could be either.
The A-7 is then moved to via relevant voiceleading.
However the A-7 is really just a suspension of the D7. So we can ignore it functionally and just consider a move Bbo7 —> D7
So here we are tonicising the D7 in fact. There’s a Barry harris way I’d do this, But most of the time I’d just do the F# triad thing. Sounds nice!
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Fair enough :-)
I'm inclined to cheat and use Bb mel. But don't tell anyone.
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Originally Posted by ragman1
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Originally Posted by pamosmusic
I might also do those things over the D7 going to G, or whatever.
Or a Go7 going back to Gmaj7.
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Originally Posted by ragman1
Okay, you used the term “temporary modulation” … if anything, theorists would consider that something of a stronger term.
So, do elaborate.
or don’t.
The point is still the same … in practice, this does not matter
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Originally Posted by bediles
I think Wes, Charlie Christian, and even Joe Pass used approaches like this.
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Originally Posted by pamosmusic
Anyway, this is what I'd do with the Bbo example. So far, anyway. Not very hip, I'm afraid
B harm
Bb melodic
A W/H dim
Go arp
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Originally Posted by ragman1
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in practice, this does not matter
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Simply staying in C major then adding colour tones that underline the chords then adding others that make think of substitutions.
Em Eb7 D- C#7
C C#dim D- G7
On this kind of things, playing in C major (if you select the right notes) can sound like a kind of magic.
Add some random (or not) chromatism, a lot of theorists will say it's wrong even if you stole it to a big name.
Lionel ! Stop it !
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Originally Posted by Lionelsax
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Anyone can play, but everyone must use their ears.
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Originally Posted by ragman1
This standard is really an obsession even if I'm not an alcoholic but it took me time to connect the dots.
It's an "old" video.
Random ends...
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Originally Posted by ragman1
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Jeez, is that all.
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Originally Posted by Lionelsax
By the way, have you seen this?
Last edited by ragman1; 11-08-2024 at 11:14 AM.
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Originally Posted by ragman1
I play, alone, with people... Duets, trios, whatever and it gets better.
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The only second chord of the song for me is Am7b5/Eb. I will bore on about this chord endlessly because it is gorgeous. I mean why should it sound so good? It’s just a iim7b5 of the Gm in inversion, and yet, instant pathos.
Do not play Eb7. This is not Dixieland, pal. None of that rumpty tum nonsense thank you.
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Oscar Peterson doesn't play it right.
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I don't play the second chord, I just leave a big gap.
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Five pages to talk about I Got Rhythm and turnarounds...
I complain about it but I participated into that flood with something that doesn't help anyone.
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I play one of those dixiland banjo tremelos there
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Originally Posted by Lionelsax
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