Re: Re: But Beautiful
reed ( (no email) )
Thu, 10 Jul 1997 04:18:45 -0700
At 09:51 AM 7/10/97 GMT, you wrote:
>
>>>From Reed:
>>
>>>What I use is:
>>>
>>>Gma7 C7 | Bm7b5 E7 | Am7 | C#m7b5 F7 |
>>>Gma7 | Bm7b5 E7 | A7 | Em7 A7 |
>>>...............
>
>>From Alan Young
>> Reed's C7 in m. 1 is most enlightening! But I still don't much like any of
>> the solutions to the change in m. 4-5. Bm7 works better than G after the
>F#
>> chord, though, to my ear. And I think, Reed, that you meant to write F#
>> there, not F?
>
>No, I'm pretty sure Reed meant F7 ! This is not a ii-V-i pattern to the Bm7,
>but rather a #IVm7b5->IVm6->I with the I being Gmaj7, or a plagal cadence
>with a preparation chord. If you place a F#7 there, then it would go nicely
>to the Bm7, but imo that's not what is intended
>Not to beat on a dead chord, but the F7 is the backdoor dominant, that could
>also be notated Cm6/F.
>Pedro
>
>
>
No, it was a typo. I meant F#7.
To understand this chord motion , see my post on "I Remember You" in
the editted digests.
reed
>
Reed Kotler
reed@justjazz.com
http://www.justjazz.com