JustJazz Discussion List: Out of Nowhere

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Hi folks , You have just tought me alot about comping , now I have =
aquestions about Out of Nowhere.....:)
(by Green/Heyman.p. 336 realbook , ed. 5)
Im doing a Block-voicing on the melody , but I`ve only grasped the very =
basic rules and therefore it sounds kinda.....basic.
(lame is another good word for it.) The next step for me is getting =
the non-chordtones to sound more interesting.
Up to now I have harmonized them as if they were chordtones , that is =
letting the non-chordtone substitue for the
nearest chordtone below it. (in bar 1 , the second quarternote is E =
over a Gmaj7 - here I would "pretend" its a D and put=20
a B below it. Or I could harmonize the E with a diminished and just put =
min. thirds downwards.) That is what I know now.
My next step would be to start using dominants on non-chordtones in the =
melody. My problem with Out of Nowhere is that
the 2-5 in bar 3 and 4 lead to AbMaj , NOT G as the changes go.......Im =
having trouble understanding how to view this 2-5(Bbm-7 Eb7). See, my =
books on blockvoicing has many rules on what to do with dominants IF =
they resolve to their tonic.
So , how can I look at the 2-5?? Can I reat it as if it resolved it its =
tonic......when I improvise on this song and spin through my
silly 2-5 lines it sorta works to just "jump" back to Gmaj , but when I =
blockvoice the melody Im just not shure........

Another problem arises in bars 13-14 wher there is a Eb7 that leads to a =
D7sus4(bar 15) to a D7b9 (bar16) -----to Gmaj at the top..... That Eb 7 =
and D7b9 looks to me like a minor turnaround that leads to Gminor tonic =
(as in Eb7 - D7b9 - Gm-7)
But it leads to GMajor...... How do I blockvoice the melody over that =
Eb7?? Do I treat it as if it leads to Gm-7?
And further: the second quarternote is A. How can I voice that without =
using the `ole "substitute for nearest chordtone" rule
(which I am trying to get past)??

A more general tought on this song: One of the characteristics of Out =
of Nowhere is the "playing around with" minor/major
extensions of the dominants : A 2-5 in minor that leads to major tonic. =
Is this thought "correct"?? Or did I yet again miss the
point in this big and scary world called JAZZ.....??

hope you could shed some light on this. Noot only on the theoretical =
aspects but also some "philosophical" angles of how to
approach this song from a soloists standpoint.

PS. I have begun to believe that in order to play the standardsongs =
well, one should know the lyrics to them......otherwise one will only be =
reacting to the chordchanges and not the song. (As a consequens of this =
, I have bought the Vocalrealbook and started my career in "crooning".) =
Any thoughts on this???=20

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Hi folks , You have = just tought me=20 alot about comping , now I have aquestions about Out of=20 Nowhere.....:)

Im doing a = Block-voicing on the=20 melody , but I`ve only grasped the very basic rules and therefore it = sounds=20 kinda.....basic.

(lame is another good = word for=20 it.) The next step for me is getting the non-chordtones to = sound=20 more interesting.

Up to now I have = harmonized them as=20 if they were chordtones , that is letting the non-chordtone substitue = for=20 the

nearest chordtone below = it. (in=20 bar 1 , the second quarternote is E over a Gmaj7 - here I would=20 "pretend" its a D and put

a B below it. Or = I could=20 harmonize the E with a diminished and just put min. thirds = downwards.) =20 That is what I know now.

My next step would be = to start using=20 dominants on non-chordtones in the melody. My problem with Out of = Nowhere is=20 that

the 2-5 in bar 3 and 4 = lead to AbMaj=20 , NOT G as the changes go.......Im having trouble understanding how to = view this=20 2-5(Bbm-7 Eb7). See, my books on blockvoicing has many = rules=20 on what to do with dominants IF they resolve to their = tonic.

So , how can I look at = the 2-5?? Can=20 I reat it as if it resolved it its tonic......when I improvise on this = song and=20 spin through my

silly 2-5 lines it = sorta works to=20 just "jump" back to Gmaj , but when I blockvoice the melody Im = just=20 not shure........

Another problem arises = in bars 13-14=20 wher there is a Eb7 that leads to a D7sus4(bar 15) to a D7b9 (bar16) = -----to=20 Gmaj at the top..... That Eb 7 and D7b9 looks to me like a minor=20 turnaround that leads to Gminor tonic (as in Eb7 - D7b9 - = Gm-7)

But it leads to = GMajor...... How do I=20 blockvoice the melody over that Eb7?? Do I treat it as if it leads = to=20 Gm-7?

And further: the second = quarternote=20 is A. How can I voice that without using the `ole "substitute for = nearest=20 chordtone" rule

A more general tought = on this=20 song: One of the characteristics of Out of Nowhere is the = "playing=20 around with" minor/major

extensions of the = dominants : A=20 2-5 in minor that leads to major tonic. Is this thought=20 "correct"?? Or did I yet again miss the

hope you could shed = some light on=20 this. Noot only on the theoretical aspects but also some=20 "philosophical" angles of how to

PS. I have begun to = believe that in=20 order to play the standardsongs well, one should know the lyrics to=20 them......otherwise one will only be reacting to the chordchanges and = not the=20 song. (As a consequens of this , I have bought the Vocalrealbook and = started my=20 career in "crooning".) Any thoughts on=20 this???