Just a Gigolo C7 Bb7 A7

[Boss Man Zwiebelsohn]

Another way this is written into jazz changes is with ii(m7b5). An inverted ivm6

September Song, I’ll be Seeing You, All of You written this way in some charts, etc.

The common thing in all these is a chromatic line going from the 6th of the key to the 5th of the key.

[alez]

Another way this is written into jazz changes is with ii(m7b5). An inverted ivm6

September Song, I’ll be Seeing You, All of You written this way in some charts, etc.

I'll look them up. Yes, Dm7b5 in line with this:

I've also seen Dm(7) Dm7b5 to achieve the same thing, but this time followed by G7. Ending of Alone Together bridge.

[ragman1]

[mr. beaumont]

Howard Alden really contributed some wonderful guitar playing for that movie.

For giggles, I'm going to figure out the chords to this version as well...no I7 straight to to bVII7 here...

[ragman1]

..no I7 straight to to bVII7 here...

Exactly.

[Boss Man Zwiebelsohn]

Anyone remember this? That's how I got to know the song through a friend who was a huge VH fan LOL.

[Boss Man Zwiebelsohn]

An early recording of the original German lyrics

[alez]

For giggles, I'm going to figure out the chords to this version as well...no I7 straight to to bVII7 here...

Wow, true! This gives me a different view. I'm used to a "home" C followed by pretty much any dominant as a new start. So the C7 is optional. This way I can see the (now optional) C7 as a sort of C that has some of the Bb7 to follow in it. Very interesting.

You guys are amazing.

Anyone remember this? That's how I got to know the song through a friend who was a huge VH fan LOL.

Ha ha, yes, Jeff mentioned it before as "DLR", I figured out what it meant as I looked for covers by different artists.

[alez]

An early recording of the original German lyrics

[ragman1]

I've no idea what this thread's about. To me, all that matters is how it sounds and whether it works. There are lots of things that work beautifully but don't necessarily follow the 'rules', whatever they are.

There are several ways to play this tune. Here are three in G. I'm sure you can tear the theory apart if it interests you but to me that's something apart from the actual playing of it. Well, not quite, but I know what I mean.

| G6 | % | G6/B Bbo | Am7 D7 |
| Am Am/maj7 | Am7 | D7 D7+ | G6 |

| G7 | F#m7b5 | E7 | Am7 |
| C6 Cm6 | G6/B A7 | D7 | G6 (D7) |

-------------------------------------------

| G6 | GM7 | G6/B Bbo | Am7 D7 |
| Am Am/maj7 | Am7 | D7 D7+ | G6 |

| G7 | D#o | E7 | Am |
| Am7 Cm6 | G6/B Bbo | Am7 D7 | G6 (D7) |

-------------------------------------------

| G6 | GM7 | G6/B Bbo | Am7 D7 |
| Am Am/maj7 | Am7 | D7 D7+ | G6 |

| G7 | F7 | E7 | Am |
| Am7 Cm6 | G6/B Bbo | Am7 D7 | G6 (D7) |

I've played them all. I prefer to hear how they sound. The variations are nearly all in the B part, second bar. There's an F#m7b5, a D#o and the dreaded F7. Personally I'm not keen on the F7 because I think it's too crude, too brash; I prefer something subtler. The D#o is very interesting and musical but I'd probably opt for the F#m7b5 in the end. And then need someone else to explain why it works... if it works.

Sorry about the tune, I'm doing it from memory.

[Woody Sound]

I'm looking at these changes:

C | % | % | G7 |
% | Dm7 | G7 | C |
C7 | Bb7 | A7 | Dm7 |
Dm7 Bb7 | Em7 A7 | Dm7 G7 | C ||

(The tune is normally played in the key of F but I've transposed it because I think C helps discussing it.)

Since you asked , I prefer a simple C7 | B7 - Bb7 | em7b5 - A7 | dm

[alez]

I've no idea what this thread's about. To me, all that matters is how it sounds and whether it works. There are lots of things that work beautifully but don't necessarily follow the 'rules', whatever they are.

I think it's just that you don't like theory. I find it useful. It helps me memorise tunes, for example.

There are several ways to play this tune. Here are three in G. I'm sure you can tear the theory apart if it interests you but to me that's something apart from the actual playing of it. Well, not quite, but I know what I mean.

Very nice and really useful, thanks

I've played them all. I prefer to hear how they sound. The variations are nearly all in the B part, second bar. There's an F#m7b5, a D#o and the dreaded F7. Personally I'm not keen on the F7 because I think it's too crude, too brash; I prefer something subtler. The D#o is very interesting and musical but I'd probably opt for the F#m7b5 in the end. And then need someone else to explain why it works... if it works.

Bravo. Really nice. I will try different things on the piano. I don't think it's a matter of preference re. theory vs. hear how they sound. The latter is not optional, the former helps (me, anyway).

Since you asked , I prefer a simple C7 | B7 - Bb7 | em7b5 - A7 | dm

Nice one, I hadn't thought of that way of making the chord sequence "conform".

[pawlowski6132]

I would recommend you learn the diatonic chord progression for Major and Natural Minor scales.

Then learn how to perform a progression analysis.

Then learn about alter progressions (back door dominants, tritone substitutions, intermodal subs, how diminished chords work, etc.)

This is all basic functional harmony 101.

I'm learning it now and it's really eye opening.

I'm looking at these changes:

C | % | % | G7 |
% | Dm7 | G7 | C |
C7 | Bb7 | A7 | Dm7 |
Dm7 Bb7 | Em7 A7 | Dm7 G7 | C ||

(The tune is normally played in the key of F but I've transposed it because I think C helps discussing it.)

The C7 Bb7 A7 catches my attention. My thoughts so far:

1. C7 A7 form a II-V (in this case it's even followed by its I), so you kind of go somewhere else briefly (Bb7), then resume the usual voice leading. Specifically, I'm talking about the voice leading in the notes E F E and G Ab G.

2. If you replaced the one measure long Bb7 with a II-V (Fm7 Bb7, half measure each), you'd get a "logical" movement in fourths. But, unlike the original Bb7, that doesn't work, I think. I feel like it disturbs both the harmonic rhythm and the character of the all-dominants sequence. Also Fm7 is unusual (Berklee even disregards it sort of, together with other IIs, but I'll leave it there because you don't like Berklee LOL).

Thoughts?