Re: "How Insensitive" by "Tone" Jobim
Lawson G. Stone ( (no email) )
Tue, 12 Aug 1997 11:11:24 -0400
Bert Ligon wrote:
>
> >>
> >I notice something else in "How Insensitive." I have the tune in Dm, and
> >the opening changes feature, of course, the half-step descending bass
> >line Dm, Dbdim7, Cm, G7/B. When it isn't just a kind of 3-6-2-5
> >movement, this sort of progression is hard for me to understand. It also
> >occurs in "One Note Samba." In that tune, which is in Bb, this
> >progression seems to function as a 3-6-2-5 (with tritone subs for 6 and
> >5) but I find that tune hard to improvise over as well, at least for the
> >first 8 measures. Interesting how the same progression in a different
> >key takes on a different character.
>
> Thess progressions are a bit different.
>
> In How insensitive:
> Dm - C#dim7(A7/C#) - Cm - G7/B is basically Dm followed by its dominant,
> resolving deceptively to Cm and its dominant. (C#dim7 and A7/C# function as
> dominants to Dm and Bdim7 and G7/B function as dominants to Cm.)
>
> In One note Samba:
> Dm - Db7 - Cm - Cb7 all points down to Bb using, as you noted, the tritone
> substituitions (Db7 & Cb7) The traditional progression without
> substitutions would have looked like: Dm - G7 - Cm - F7 (Bb); iii7 - V7/ii
> - ii7 - V7 (I).
> You can find this progression everywhere on turnaround type tunes (I Got
> Rhythm, Have you Met miss Jones, Heart & Soul, etc.)
>
Thanks, Bert, for clarifying that. It really does prove that "context is
everything" in music, which I guess means "resolution is everything."
What is just a turnaround in one context is quite a different sounding
thing in another.
I'm curious--would lines played over the sequence in "one note samba"
work harmonically over the section in "How Insensitive" assuming the
rhythmic adaption was made?
>
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Lawson G. Stone—Asbury Theological Seminary—Wilmore, KY 40390
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"I never practice. I open the case once in a while and throw in a
piece of meat." Wes Montgomery, Jazz Guitarist, told to Jim Hall.