discussion-l Digest Fri, 27 Sep 1996 00:04:31 Pacific Daylight Time V01 #25 Today's topics: 'Re: Extended Dominant Chords' 'Re: Extended Dominant Chords' 'Re: Extended Dominant Chords' 'RE: Extended Dominant Chords' 'Re: Substitutions: When You Wish Upon A Star' 'Re: Substitutions: When You Wish Upon A Star' 'Re: Extended Dominant Chords' 'Re: Substitutions: When You Wish Upon A Star' 'Re: Extended Dominant Chords' 'Re: Substitutions: When You Wish Upon A Star' 'diminished ninth' 'Re: Substitutions: When You Wish Upon A Star' 'Re: Extended Dominant Chords' 'Re: Chord Symbol Notation' '"Israel" from Birth of the Cool' 'Substitutions: I've Told Ev'ry Little Star' ---------------------------------------------------------------------- Date: Wed, 25 Sep 1996 11:39:52 -0700 From: frankj@curran.Eng.Sun.COM (Frank Curran) Subject: Re: Extended Dominant Chords On Wed Sep 25 Mark Jerome Yeary wrote: > In response to an earlier reference to Mark Levine's discussion (or lack thereof) of dominant chords, please read chapters 8-9 (or 9-10? don't have the book with me) of The Jazz Piano Book, if you've got it. If not, buy it. Even for the pianistically-challenged musician like myself, it gives a solid understanding of jazz theory. > > The concept, as I understand it: > > When playing a chord, be it a C major triad or an F# dominant with a #9 and a b13, think of the scale that the chord comes from. (Hush over the crowd, as the dreaded S-word is mentioned). Thanks Mark, the summary you provided from Levine's Jazz Piano book sounds very much like what is in his Jazz Theory book too. I really like the identification of each chord with a scale, this certainly helps provide a starting context for improv. I also like to think of chords and scales as part of a single fabric. However, extended dominant chords are not addressed in _Jazz Theory_. Are they addressed in _Jazz Piano_? These are not the same as altered dominants, extended dominants are diatonic. For example, is there a discussion of how to voice a 9th, 11th or 13th chord? One would certainly expect they are built on 1, 3, 5, b7. Does the 11th always have the 9th present? Does the 11th have the 3rd present? Does the 13th have the 9th present? Does the 13th have the 11th present? What about 1, 3, 5, b7, 13? Is that a dominant 13th chord? Are there rules for dropping voices when forming shell chords? ...etc.... This is a topic worthy of treatment in jazz theory books. There are many possible combinations and it would help the student to learn how experience has led the wise ones to understand this subject. BTW - on Tue Sep 24, RogMcD@aol.com posted a message on pop chords symbols which did talk about a number of these questions. He is a retired college teacher and was summarizing from his own notes. One would think there probably are good treatments of extended dominant chords in the literature. Anybody know of one? Frank ------------------------------ Date: Wed, 25 Sep 1996 11:39:35 -0700 From: frankj@curran.Eng.Sun.COM (Frank Curran) Subject: Re: Extended Dominant Chords On Wed Sep 25 Mark Jerome Yeary wrote: > In response to an earlier reference to Mark Levine's discussion (or lack thereof) of dominant chords, please read chapters 8-9 (or 9-10? don't have the book with me) of The Jazz Piano Book, if you've got it. If not, buy it. Even for the pianistically-challenged musician like myself, it gives a solid understanding of jazz theory. > > The concept, as I understand it: > > When playing a chord, be it a C major triad or an F# dominant with a #9 and a b13, think of the scale that the chord comes from. (Hush over the crowd, as the dreaded S-word is mentioned). Thanks Mark, the summary you provided from Levine's Jazz Piano book sounds very much like what is in his Jazz Theory book too. I really like the identification of each chord with a scale, this certainly helps provide a starting context for improv. I also like to think of chords and scales as part of a single fabric. However, extended dominant chords are not addressed in _Jazz Theory_. Are they addressed in _Jazz Piano_? These are not the same as altered dominants, extended dominants are diatonic. For example, is there a discussion of how to voice a 9th, 11th or 13th chord? One would certainly expect they are built on 1, 3, 5, b7. Does the 11th always have the 9th present? Does the 11th have the 3rd present? Does the 13th have the 9th present? Does the 13th have the 11th present? What about 1, 3, 5, b7, 13? Is that a dominant 13th chord? Are there rules for dropping voices when forming shell chords? ...etc.... This is a topic worthy of treatment in jazz theory books. There are many possible combinations and it would help the student to learn how experience has led the wise ones to understand this subject. BTW - on Tue Sep 24, RogMcD@aol.com posted a message on pop chords symbols which did talk about a number of these questions. He is a retired college teacher and was summarizing from his own notes. One would think there probably are good treatments of extended dominant chords in the literature. Anybody know of one? Frank ------------------------------ Date: Thu, 26 Sep 1996 09:35:56 -0400 From: "Andre Alguero" Subject: Re: Extended Dominant Chords If this discussion is approached from a guitar player's perspective then extended dominants don't always contain all the notes that "really" make up the chord. For example a common voicing of a 13th chord is 1-3-b7-13. Many guitar voicings lean on the 3rd and b7th and the highest extended dominant in question (11th chord has the 11 but not necessarily the 9). The 5th is always the first to go, if its unaltered then it doesn't "define" the chord. Sometimes the root isn't necessary, looking at the melody can be helpful here in deciding. When you start talking about extended chords, guitarists run out of strings and fingers pretty fast so we have to rely on the ear to round things out. -Andre' ---------- > From: Frank Curran > To: Multiple recipients of list discussion-l > Subject: Re: Extended Dominant Chords > Date: Wednesday, September 25, 1996 2:39 PM > > On Wed Sep 25 Mark Jerome Yeary wrote: > > > In response to an earlier reference to Mark Levine's > discussion (or lack thereof) of dominant chords, please read > chapters 8-9 (or 9-10? don't have the book with me) of The Jazz > Piano Book, if you've got it. If not, buy it. Even for the > pianistically-challenged musician like myself, it gives a solid > understanding of jazz theory. > > > > The concept, as I understand it: > > > > When playing a chord, be it a C major triad or an F# dominant > with a #9 and a b13, think of the scale that the chord comes > from. (Hush over the crowd, as the dreaded S-word is > mentioned). > > Thanks Mark, the summary you provided from Levine's Jazz Piano book > sounds very much like what is in his Jazz Theory book too. I really > like the identification of each chord with a scale, this certainly > helps provide a starting context for improv. I also like to think of > chords and scales as part of a single fabric. > > However, extended dominant chords are not addressed in _Jazz Theory_. > Are they addressed in _Jazz Piano_? These are not the same as altered > dominants, extended dominants are diatonic. For example, is there a > discussion of how to voice a 9th, 11th or 13th chord? One would > certainly expect they are built on 1, 3, 5, b7. Does the 11th always > have the 9th present? Does the 11th have the 3rd present? > Does the 13th have the 9th present? Does the 13th have the 11th > present? What about 1, 3, 5, b7, 13? Is that a dominant 13th chord? Are > there rules for dropping voices when forming shell chords? ...etc.... > > This is a topic worthy of treatment in jazz theory books. There are > many possible combinations and it would help the student to learn how > experience has led the wise ones to understand this subject. > > BTW - on Tue Sep 24, RogMcD@aol.com posted a message on pop chords > symbols which did talk about a number of these questions. He is a > retired college teacher and was summarizing from his own notes. > > One would think there probably are good treatments of extended dominant > chords in the literature. Anybody know of one? > > Frank ------------------------------ Date: Thu, 26 Sep 1996 16:03:12 -0000 From: Ian M Dilley Subject: RE: Extended Dominant Chords Its not too different for piano players. We don't play ALL the notes in the chord all the time. When I'm playing single note right hand runs I often play just 3rd 7th and 9th or 7th 3rd and 13th in the left hand. Hardly ever play the root at the bottom - that's what bass players are there for :-). ---------- From: Andre Alguero Sent: 26 September 1996 13:35 To: Multiple recipients of list discussion-l Subject: Re: Extended Dominant Chords If this discussion is approached from a guitar player's perspective then extended dominants don't always contain all the notes that "really" make up the chord. For example a common voicing of a 13th chord is 1-3-b7-13. Many guitar voicings lean on the 3rd and b7th and the highest extended dominant in question (11th chord has the 11 but not necessarily the 9). The 5th is always the first to go, if its unaltered then it doesn't "define" the chord. Sometimes the root isn't necessary, looking at the melody can be helpful here in deciding. When you start talking about extended chords, guitarists run out of strings and fingers pretty fast so we have to rely on the ear to round things out. -Andre' Attachment Converted: "d:\eudora\attach\WINMAIL8.DAT" ------------------------------ Date: Thu, 26 Sep 1996 13:05:50 -0400 From: BLigon@mozart.music.sc.edu (Bert Ligon) Subject: Re: Substitutions: When You Wish Upon A Star When You Wish Upon A Star: substitutions: These are changes stolen from Andy Laverne, I think from his CD "Natural Living." The chord symbols alone miss the richness of his voicings and the fact that what makes the chords interesting is his moving voice-leading that can't be sent over this e-mail. Each note of the melody is often individually harmonized. He put the piece in the key of Eb, which may work better. I have transposed it for easy comparison. Em7 A7b9b13 | Dm(maj7) Em11 | Fmaj7#5 Fmaj7 G7sus G13| G#=F87 Gm6 F#= =F87 Fm6| C/E D#o7 | Dmi9 Dm#5 Em7 Em7#5 |Fmaj7#5 Fmaj G7sus G13b9 |C/G | Em7 A7b9b13 | Dm(maj7) Em11 | Fmaj7#5 Fmaj7 G7sus G13| G#=F87 Gm6 F#= =F87 Fm6| C/E D#o7 | Dmi9 Dm#5 Em7 Em7#5 |Fmaj7#5 Fmaj G7sus G13b9 |C/G | D=F87/G G7b9 | C/G | D=F87/G G7b9 | B/G C/G B7#9 F9#11| Em9 Bb9#11 Am6 Eb13 | D9#11 D#o7 | C/E Fm6 | Fm(maj7)/G G13b9 | Ebmaj7 D7alt Db7#9 C7#9 |Dm(maj7) Eb9#11 |F#9sus / G9sus G7 |G#=F87 Gm6 F#= =F87 Fm6| B7#9b13 Eb9#11 G#7#9b13 C9#11 | F#13b9 Ab13#11 C#7#9 B7#9 |Fmaj7#5 Fmaj G7sus G13b9 | Bbmaj7 Dbmaj7 C / | _______________________________________ Bert Ligon Director of Jazz Studies _______________________________________ School of Music University of South Carolina Columbia, SC 29208 Voice: (803) 777-6565 =46ax: (803) 777-6508 bligon@mozart.sc.edu _______________________________________ ------------------------------ Date: Thu, 26 Sep 1996 13:08:37 -0400 From: BLigon@mozart.music.sc.edu (Bert Ligon) Subject: Re: Substitutions: When You Wish Upon A Star Please accept my apologies, I forgot to transpose one measure on the last message (noted with ***) When You Wish Upon A Star: substitutions: These are changes stolen from Andy Laverne, I think from his CD "Natural Living." The chord symbols alone miss the richness of his voicings and the fact that what makes the chords interesting is his moving voice-leading that can't be sent over this e-mail. Each note of the melody is often individually harmonized. He put the piece in the key of Eb, which may work better. I have transposed it for easy comparison. Em7 A7b9b13 | Dm(maj7) Em11 | Fmaj7#5 Fmaj7 G7sus G13| G#=F87 Gm6 F#= =F87 Fm6| C/E D#o7 | Dmi9 Dm#5 Em7 Em7#5 |Fmaj7#5 Fmaj G7sus G13b9 |C/G | Em7 A7b9b13 | Dm(maj7) Em11 | Fmaj7#5 Fmaj7 G7sus G13| G#=F87 Gm6 F#= =F87 Fm6| C/E D#o7 | Dmi9 Dm#5 Em7 Em7#5 |Fmaj7#5 Fmaj G7sus G13b9 |C/G | D=F87/G G7b9 | C/G | D=F87/G G7b9 | B/G C/G B7#9 F9#11| Em9 Bb9#11 Am6 Eb13 | D9#11 D#o7 | C/E Fm6 | Fm(maj7)/G G13b9 | *** Cmaj7 B7alt Bb7#9 A7#9 |Dm(maj7) Eb9#11 |F#9sus / G9sus G7 |G#=F87 Gm6 F#=F8= 7 Fm6| B7#9b13 Eb9#11 G#7#9b13 C9#11 | F#13b9 Ab13#11 C#7#9 B7#9 |Fmaj7#5 Fmaj G7sus G13b9 | Bbmaj7 Dbmaj7 C / | _______________________________________ Bert Ligon Director of Jazz Studies _______________________________________ School of Music University of South Carolina Columbia, SC 29208 Voice: (803) 777-6565 =46ax: (803) 777-6508 bligon@mozart.sc.edu _______________________________________ ------------------------------ Date: Thu, 26 Sep 1996 10:14:21 -0700 From: frankj@curran.Eng.Sun.COM (Frank Curran) Subject: Re: Extended Dominant Chords On Thu Sep 26 Andre Alguero wrote: > > If this discussion is approached from a guitar player's perspective then > extended dominants don't always contain all the notes that "really" make up > the chord. For example a common voicing of a 13th chord is 1-3-b7-13. Many > guitar voicings lean on the 3rd and b7th and the highest extended dominant > in question (11th chord has the 11 but not necessarily the 9). The 5th is > always the first to go, if its unaltered then it doesn't "define" the > chord. Sometimes the root isn't necessary, looking at the melody can be > helpful here in deciding. When you start talking about extended chords, > guitarists run out of strings and fingers pretty fast so we have to rely on > the ear to round things out. > Thanks Andre, I too am a guitar player and do exactly as you said. Ah, the laws of physics! I believe keyboardists often do likewise for convenience and they call the results "shell chords". However, I'm curious to know what the correct way form extended dominants is, assuming all the voices could be played. I suppose keyboard players could often handle all the voices if they desired to do so. Also, we can think of the performance coming from an ensemble, e.g. a reed section. So I guess I'm still looking for a reference work that does describe extended dominants - actually both formation of them and their usage in varoius musical contexts would be nice. Anybody know of a book that covers this, or some of it? Frank ------------------------------ Date: Thu, 26 Sep 96 11:13:39 PDT From: goldberg@eng.adaptec.com (Jules Goldberg x2152) Subject: Re: Substitutions: When You Wish Upon A Star Reed, a)You have worked out a beautiful cahrt on "when you wish upon a star". If I were trying to solo over it, It would be less confusing if the basic simple chords that you base the extensions on were given to me while you played this chord chart. I could fill in the extensions with my solo and also add a few more. (I am a sax player.) b)A good ear player would probably get the essance of what you are doing and play something that is highly adequate. c) If you really get far out, a chord chart or a rehearsal would be necessary. Since all bass players are not geniouses, it would be considerate to let him in on what you are doing as well. d)Since you have done all of this in the past, this letter is really not directed at you personnally, but rather at the many keyboard players out there that don't think about other people in thier jazz groups. HAVA NICE DAY, Jules Goldberg ------------------------------ Date: Thu, 26 Sep 96 11:26:04 PDT From: goldberg@eng.adaptec.com (Jules Goldberg x2152) Subject: Re: Extended Dominant Chords If you know your dominant 7'th chords and are a jazz soloist, all you need is the basic symbol (c7, for example). the soloist can add the extensions himself. Writing it in the chart is confusing. There are 10 notes you can play against a dominant 7 chord and sound almost decent. You need to avoid the 4'th and the maj 7'th. If the 3'rd is left out of the voicing, then the 4'th note of the scale shopuld work also. HAVA NICE DAY, Jules Goldberg ------------------------------ Date: Thu, 26 Sep 1996 16:26:26 -0400 From: Frank Hamilton Subject: Re: Substitutions: When You Wish Upon A Star Reed, Looking over your chart............... > >The orignal Key is C though I learned it in F but will >analyze it in C for this mail. > >The original 4 bars in sheet music is: > >C A7+ | Dm(maj7) Dm7 | G9 G7sus,G7 | Cdim7 C6 | >C/E >I play pretty much the same thing: > >C A7#5b9 | Dm(maj7) Dm9 | G9 Dmi9,G13b9| Cdim7,Emi7/C C6 | >C/E It seems that the G13b9 would require the vocalist to sing an Ab instead of a G in the melody. On the syllable "dif-f'rence". This doesn't bother me. The F# on the syllable "where" would follow the Ab making this an interesting tune. Also, I would prefer to label the Em7/C as a Cmaj9. >The next four in the sheet music are: > >C/E Ebdim | Dmi9 A7 | Dmi7 G9,G7b9 | Cmaj7 G7 | >C ... >The C/E can be played as an Emi7 but be careful because the >C melody note will clash with the Emi7. You have to voice the >chord correctly and use proper dynamics. > >The turnaround C G7 is pretty lame. I use: > >Emi7 Ebdim | Dmi9 A7b9 | Dmi9 G7b9 | Emi7,A7b9b5 Dmi11,G13b9 | >C ... This is pretty. A nice reharmonization. Frank ------------------------------ Date: Thu, 26 Sep 1996 16:41:04 -0400 From: Frank Hamilton Subject: diminished ninth I would like your opinions please on the usage of the term "diminished ninth."For example in F: F,Ab,Cb and E natural. A good example of the use of this chord would be Gershwin's "Our Love is Here To Stay" on the word "Oh" before "The Rockies may tumble.......". It could be thought that the generator of this chord is E making it an E7b9 but the problem is that the bass note is probably an F. Unless it is designated as an E7b9 in which the bass note is an E which progresses to an Amin7 in the cycle. I think of it's movement, however being like a diminished seventh chord not a dominant seventh flat nine. Anyway, the term diminished ninth has been used to label this chord. What do you think? Frank ------------------------------ Date: Thu, 26 Sep 1996 15:46:36 -0700 From: reed Subject: Re: Substitutions: When You Wish Upon A Star At 04:26 PM 9/26/96 -0400, you wrote: >Reed, > > >>I play pretty much the same thing: >> >>C A7#5b9 | Dm(maj7) Dm9 | G9 Dmi9,G13b9| Cdim7,Emi7/C C6 | >>C/E > > > >It seems that the G13b9 would require the vocalist to sing an Ab instead of >a G in the melody. On the syllable "dif-f'rence". Not really. I voice g13b9 with a G in the melody frequently. I.e from the bottom: [G F Ab B E G] The b9 is buried way down in the chord and I dont't think will bother the singer if you are playing the G melody note. >Also, I would prefer to label the Em7/C as a Cmaj9. > yes, that was more an indication of what to grab. Kind of a pianistic thing. I'm playing something like [C E] in the left hand and [B D E G] in the right hand. > > > ------------------------------ Date: Thu, 26 Sep 1996 17:23:58 -0400 From: MTemple251@aol.com Subject: Re: Extended Dominant Chords I have always thought that an extended dominant chord was the same thing as a secondary dominant, except that the extended dominant did not resolve to a chord that was diatonic, rather it resolved to a chromatic chord. It is not so much the alteration of a given chord, but the alteration of the harmonic progression by inserting additional chords. Am I close to being correct? Mike ------------------------------ Date: Thu, 26 Sep 1996 19:37:32 -0600 From: "Marc Sabatella" Subject: Re: Chord Symbol Notation > I always asked back: "So what do I write when I *want* the natural 5 and > sharp 9? My nomination: C7SW (for "Spinnin' Wheel", of course!). We used to use CMF7 (for "C Maynard seventh") -------------- Marc Sabatella marc@fortnet.org http://www.fortnet.org/~marc/ ------------------------------ Date: Thu, 26 Sep 1996 19:28:23 -0700 From: reed@reedkotler.com (Reed Kotler Consulting) Subject: "Israel" from Birth of the Cool Courtesy of Don Haas we have the changes to the first four choruses of "Israel" from the Miles Davis "Birth of The Cool Album". Don only had 20 minutes to do this but we'll get the rest next week (I watched him, he really did it in 20 minutes!) (And yes, that first chord is a Cmaj7!!!!!) (we have omitted the intro for now.) Cmaj7 | | Cmaj7 Gm7 | C7 | Fm7 Fm6 |Fm6 G7#9 | Cmaj7 Dmi7 | Ebmaj7 Fmi7 | Gbmaj7 | G7#9b5 | Cmaj7 Dbmaj7 | D7 (G7) | Cmi Cmi+ | Cm6 G7 | Cmaj7 G7 | C,Gb9 Gb9 | Fmi7 Fmi+ | Fm6 | Cmaj7 Dmi7 | Ebmaj7 Fmi7 | Gbmaj7 | G7#9b5 | Cmaj7 Dbmaj7 | D7 G7 | C C+ | C6 G13 | C G7 | C7 | Fmi7 Fmi+ | Fmi6 G7 | Cmaj7 DMi7 |Ebmaj7 Fmi7 | Ab/Gb | G7b5 | Cmaj7 Dmi7/G |Cmaj7 (G7)| Cmaj7,Cmi Cmi+ | Cmi6 Dbmaj7/G | Cmi G7#9#5 | (Cmi),Gb13#9 | Fmi Fmi+ | Fmi13 Fmi13,G7#9#5 | *C Dm | Eb Fmi | Gbmaj7b5 | Bbmi/G | N.C. | | * there is superimposed over these chords, the chords |Gb C | Dm | Eb | The rhythms are staggered. reed ------------------------------ Date: Fri, 27 Sep 1996 00:04:14 -0700 From: reed kotler Subject: Substitutions: I've Told Ev'ry Little Star This is a nice Jermoe Kern tune and I have to credit Jamey Aebersold for introducing me to this tune with the "Yesterdays", Volume 55, play along CD. Not too many players know this tune. I begin reharmonization whenever possible with the sheet music as those that have been following my mail know. This tune is no exception. I'm going to leave the tensions out. I tried that on my subs from yesterday and found it quite cumbersome and it clouds the chart. If people find them necessary I can consider putting them in future charts. In the sheet music, the first eight are basically: F | C7 | C7sus/F F | C7 | F | C7 | F | C7 | Not a particularly insipring set of chord changes. We begin with a simple ii7 in front of the first C7. F6 | Gmi7 C7 | C7sus/F F | C7 | F | C7 | F | C7 | There are a number of approaches to the Gmi7 we can add. Dmi7 is a possibility. F6 Dmi7 | Gmi7 C7 | C7sus/F F | C7 | F | C7 | F | C7 | I prefer Ab7 which is the tritone sub for D7, which is the V of Gmi7. F6 Ab7 | Gmi7 C7 | C7sus/F F | C7 | F | C7 | F | C7 | Another nice alteration is to replace the F6 with F/A. This provides a very nice bass line. Bill Evans begins the verse to "The Boy Next Door" on the "Explorations" CD this way. Although in place of Ab7, he plays Abdim7. F/A Ab7 | Gmi7 C7 | C7sus/F F | C7 | F | C7 | F | C7 | Next we try another ii7. F/A Ab7 | Gmi7 C7 | C7sus/F F | Gmi7 C7 | F | C7 | F | C7 | The C7sus/F, F is pretty week so we approch with a sequence of V7 chords. A ii/V7 is not possible because of the melody. F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 C7 | F | C7 | F | C7 | However the C7 is not a convincing approach to the F. In situations where V -> I doesnt work, it's always worth trying a minor plagal cadence, i.e. ivm -> I which works fine here. F/A Ab13 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | F | C7 | F | C7 | We do some more ii7 additions. F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | F | Gmi7 C7 | F | Gmi7 C7 | We replace the first F with iii7/vi7 and the second with the same way we open the tune. VI7 is not possible because of the melody. F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | Ami7 Dmi7 | Gmi9 C7 | F/A Ab7 | Gmi9 C7 | The second eight are the same except that it is modulating to C major on the bridge to we use an appropriate ii/V. Thus the first sixteen are essentially: F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | Ami7 Dmi7 | Gmi9 C7 | F/A Ab7 | Gmi7 C7 | F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | Ami7 Dmi7 | Gmi9 C7 | F6 | Dmi7 G7 | The sheet music changes for the bridge are essentialy: C | G7/D G7 | C | Cdim | Bdim G7 | Am | F | C7 | The G7/D sounds more convincing as Dmi7. C | Dmi7 G7 | C | Cdim | Bdim G7 | Am | F | C7 | The Cdim sounds pretty bad but it's hard to see what to change it to until we go a little further. The Bdim is the first three notes of Bmi7b5 which suggest right off a minor ii7/V to Ami since that is where things are going anyway. C | Dmi7 G7 | C | Cdim | Bmi7b5 E7 | Am | F | C7 | Now we see how to get right of that pesty Cdim. Just ii/V7 our way down with c Cmi7/F7. C | Dmi7 G7 | C | Cmi7 F7 | Bmi7b5 E7 | Am | F | C7 | For the Ami, it is begging to be a ii7/V, so I oblige. This is because we have a series of ii/V7's. C | Dmi7 G7 | C | Cmi7 F7 | Bmi7b5 E7 | Ami7 D7 | F | C7 | Now we are kind of in a corner. I hear something like Gmi7/C7 for the last bar, be we are already at the V7 in the bar befor F. So I just stall but going to th V7Sus and then back to the V7. C | Dmi7 G7 | C | Cmi7 F7 | Bmi7b5 E7 | Ami7 D7 | D7sus D7 | C7 | Instead of Gmi7 C7 for the last bar I just use a different turaround for variety and because it seems to lead nicely out of the bridge. C | Dmi7 G7 | C | Cmi7 F7 | Bmi7b5 E7 | Ami7 D7 | D7sus D7 | Dmi7 Db7 C7sus C7 | The last 8 are the same as the first eight so we get in total: F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | Ami7 Dmi7 | Gmi9 C7 | F/A Ab7 | Gmi9 C7 | F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | Ami7 Dmi7 | Gmi9 C7 | F6 | Dmi7 G7 | C | Dmi7 G7 | C | Cmi7 F7 | Bmi7b5 E7 | Ami7 D7 | D7sus D7 | Dmi7 Db7 C7sus C7 | F/A Ab7 | Gmi7 C7 | A7 D7 | Gmi7 Bbmi7,Eb7 | Ami7 Dmi7 | Gmi9 C7 | F6 | Gmi7 C7 | For the last 8 it is possible to really thicken the changes with something like: Bmi7b5 Bbm6 Ami7 Ab7 | Gmi7 Db7 C7sus C7 | Emib5 A7 Ami7b5 D7 | Gmi7 D7 Bbmi7 Eb7 | Ami7 Dmi7 | Gmi9 C7 | F6 | Gmi7 C7 | In case this isnt clear, these changes are "head" changes. It would be pretty burdensome to try and solo over these. reed ------------------------------ End of discussion-l Digest V01 #25 **********************************