> > I don't know this tune but ...
> >
> > In bars 2,4,9,10 the Cm7b5 which is enharmnonically the same as
> > Ebm6 would usually be played instaed.
> >
> > Not knowing this tune, it would be hard to say but
> > this is a common enharmonic mispelling in fake books.
> >
> > Notice the more logical bass motion.
Not really; either way, there is a skip up a fourth and a step up; they
differ only in what order these come in. This does nicely illustrate the
dichotomy between how classical musicians think (I, IV,and V are the
primary triads; ii when it occurs is usually considered a sub for IV)
versus how jazz musicians tend to think (ii, V, and I are the most
important chords because of the relationship of their roots; IV when it
occurs is often considered a sub for ii).
Anyhow, what I usually hear for this tune is a simple descending line:
| Bbm Bbm/Ab | Gb7 F7 |.
> > I would also question the chords in measure 4. No matter how
> > you spell the ebm6, I don't see an F7 chord going to an Ebm6
> > chord in measure 5.
No, that's pretty much right. It's definitely a iv chord in measure 5, and
it is definitely preceded by a phrase identical to the first one, although
certainly, a passing Edim or some such would be a common device to smooth
the transition. Also, the alternation between Ebm and F7 in bars 9-10 is
also right on the money, unless you want to use Gb7 or Cm7b5 instead of
Ebm.
--------------
Marc Sabatella
marc@outsideshore.com
"The Outside Shore"
A Jazz Improvisation Primer, Scores, Sounds, & More:
http://www.outsideshore.com/