Embraceable You - second chord in progression

[rpjazzguitar]

Fairly certain this is from Advancing Guitarist, no?

I got it from a post on the Usenet group, years ago. It made an impression because it's ridiculous.

I once gave Advancing Guitarist a quick flip-through but no more than that. So, I don't know if it's in there.

It just struck me as a near bottomless abyss. And, I think I grossly underestimated the number of actual combinations you'd have to try out. Because, once you got the 7 note scale you like (two triads plus the bass note) you'd have to try it in some number of harmonic situations to figure out how to use it. And, it occurs to me, until you got to the end of that near infinite assignment, you'd be unable to determine which ones were best. And you still wouldn't have learned a tune.

In contrast, here's how something worked for me -- and I make no claim to being good at this. At some point, long ago, I stumbled upon the idea of using a b9 against a dominant chord. Like Ab against G7. I could play a ii V I with it - as chords. And, I could put an Ab in my solo line against G7. So, I could hear the harmony really clearly -- as chords and as notes. With that foundation, the b9 got into my playing pretty easily, as those things go.

I then tried to do the same thing with #11. I didn't make much progress until I started using D9#11 (xx4554) as a sub for D9 (not lingered-on, but rather in passing). I could hear that and as soon as I could hear it, I could solo with it.

#9 took a little longer. b13 longer still, depending on the context.

Outside sounds didn't work well this way. But, enough for one post.

[Christian Miller]

You can’t learn everything. You have to prioritise.

Otoh, what you already know may count as a bottomless pit’ to some.


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[lawson-stone]

I got it from a post on the Usenet group, years ago. It made an impression because it's ridiculous.

LET'S HEAR IF FOR THE OLD USENET JAZZ GUITAR GROUP! WHOOOOOOOOOOOPPPEEEEE!
That group saved my sanity in a period in which musical difficulties and personal life obstacles threatened to demoralize me.
Was that REALLY Jimmy Bruno?

[pauln]

I'm with BH on this; I like the old fashioned sound of dim7.
If you're going to dim7, study it out, and put it into service.

Gmaj6 - Bbdim7 - Am11 - Abdim7
Am7/E - Ebdim7 - Dmaj6 - Gmaj7...

[CliffR]

I'm with BH on this; I like the old fashioned sound of dim7.
If you're going to dim7, study it out, and put it into service.

Gmaj6 - Bbdim7 - Am11 - Abdim7
Am7/E - Ebdim7 - Dmaj6 - Gmaj7...

Thank you! That sheds light on the last two bars of All Of Me, which had me a bit puzzled. In the chart I have it's written C6, Ebdim7, Dm7, G7, but now I see it's the same as the second progression you mention insofar as we're dealing with a descending chromatic bass from E to D.

[ragman1]

I'm with BH on this; I like the old fashioned sound of dim7.
If you're going to dim7, study it out, and put it into service.

Gmaj6 - Bbdim7 - Am11 - Abdim7
Am7/E - Ebdim7 - Dmaj6 - Gmaj7...

You're right, Paul. I've just played it, it's very nice.

[Christian Miller]

Thank you! That sheds light on the last two bars of All Of Me, which had me a bit puzzled. In the chart I have it's written C6, Ebdim7, Dm7, G7, but now I see it's the same as the second progression you mention insofar as we're dealing with a descending chromatic bass from E to D.

You can practice putting it in bar 8 of a blues

Eg (in F)

F | C7 | F | F7
Bb | Bbm7 | Fmaj7/A | Abo7 |
G-7 | C7 | F Abo7 | G-7 C7 |


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[garybaldy]

Thank you! That sheds light on the last two bars of All Of Me, which had me a bit puzzled. In the chart I have it's written C6, Ebdim7, Dm7, G7, but now I see it's the same as the second progression you mention insofar as we're dealing with a descending chromatic bass from E to D.

One of many possible turnarounds - and not necessarily dependent on a specific melody.

[Tal_175]

Thank you! That sheds light on the last two bars of All Of Me, which had me a bit puzzled. In the chart I have it's written C6, Ebdim7, Dm7, G7, but now I see it's the same as the second progression you mention insofar as we're dealing with a descending chromatic bass from E to D.

Note this is the same use of the diminished chord as the original post: biiio ii V (I)