Re: Re: But Beautiful (2)
reed ( (no email) )
Fri, 11 Jul 1997 05:16:55 -0700
At 10:32 AM 7/11/97 GMT, you wrote:
>
>>>>>From Reed:
>>>>>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.
>>>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
>
>Sorry Reed for the mistake, but I really like the C#m7b5->Cm6->Gmaj7 there.
>I have trouble in accepting the F#7, unless you use Bm7 in bar5.
> I'll check on "I Remember You" when I get the chance.
It's not an uncommon harmonic move. And if you read my post on
"I remember you" you'll see why it works. I think that post may
be buried in some more general post I made. I can't remember.
Also consider "It Could Happen to You".
In G we have:
G | Bm7b5 E7 | Am7 | C#m7b5 F#7 |
G
Both "But Beautiful" and "It Could Happen to You" are by Jimmy Van Huesen .
reed
>Pedro
>
>
>
Reed Kotler
reed@justjazz.com
http://www.justjazz.com