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Originally Posted by djg
1 b2 b3 b4 b5 b6 b7
As opposed to
1 b9 #9 3 b5 b13 b7
But it’s also a classic bop extension of a G7 chord. Barry and all of that. But then Fats Waller say G7+5 —-> B7+5. And B7–>C is super hip V-I sub that also sounds like the 1920s.
And Pat playing Bm into Bb just shows it sounds good to go a little out and then in again if you can resolve. clearly
But I think putting tritones as in more tritones = better as in whole tone scales, dim scales, 7b9 etc etc is a bebop functional vibe.
If you take out all the tritones you get a softer more floating vibe. Obviously a lot of Jobims music has tritones in it, but in this case I think leaving the F out gives a different colour.
It’s also that prog
F#m7b5 Fm6 Em7 Eo7 Dm G7 C
It’s nice sometimes if you have
D/F# Fm9 C/E Eo7 etc
But a good way to sound modern is to take the tritones out of altered dominants.
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09-29-2019 09:07 AM
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Originally Posted by ragman1
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G/B as legit F7 resolving to I or F13(#11) > Bb
F X Eb B D G > X Bb D G C E
F X Eb B D G > X Bb X G D F
F X Eb B D G > Bb X A C D G
F X Eb B D G > Bb X G C F A
F X Eb B D G > X X C D F Bb like this better F X Eb B D G > X X Eb A C# F > X X C D F Bb
F X Eb B D G > Bb F A D G C
F X Eb B D G > Bb F C F A D
Not smart enough to reference song examples but I hope the voicings above demonstrate
that it can resolve to I with reasonably musical results. No doubt, some voicings might present more
challenges doing so than others.
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I mean if you see a 7#11 as interchangeable with a 7b5 (I actually think older musicians did) there’s an absolute ton of tunes. For instance McCoy Tyner/Coltrane likely to think of F7#11 as a diminished half-whole chord. With an 8 note scale enharmony doesn’t really work. b5 and #11, who cares?
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Originally Posted by djg
But I do find Bm7b5 to Bbmaj7 to be a weak cadence. Too many common tones. G triad is a bit better at least there’s some contrary motion in there. For soloing purposes could probably play a straight F7alt —> Bb and sound great.
Just drive your bebop truck through that delicate garden.
(I know it’s against our religion, but sometimes a triad is the right sound...)
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But a good way to sound modern is to take the tritones out of altered dominants.
(all drop 2 on middle 4 strings) with 3 extensions (9,11,13 of various colors) which leaves only one more note
to steer towards basic function. Most comprehensive book on the subject of this structure representing that harmony
that I'm aware.
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Originally Posted by christianm77
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Originally Posted by djg
I can’t listen to them now (or any music atm) but I’ll take your word for it.
EDIT - I listened to the first one and that is indeed a hefty D. I stand corrected haha. Still I’ll find a spurious reason why you are wrong, don’t worry. I’ll dig out the original recording I learned it from and see if I made a mistake.
I didn’t learn Insenatez from a lead sheet. The RB has G7/B anyway iirc, so not sure what you are on about there .Last edited by christianm77; 09-29-2019 at 03:18 PM.
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Unless you are getting me confused with my worthy constituent mr ragman of course :-)
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You could do worse :-)
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Anyway, who needs fancy chords? Here's a pure vanilla version, no flake, not an altered sound in it...
Grant Green, What is This Thing
Today, 01:59 PM in Ear Training, Transcribing & Reading