I usually decide on what I think the accompanists are playing and ink those
in so my students can know what the soloist is playing over/reacting to
first. Then we go over theory of the soloist's mind set and pencil those
annotations in second as well as circling favorite licks and devices of the
soloists.
I agree completely with your analysis of George Benson's probable mind set of
Fm7 super-imposed over the tri-tone sub of E7: Bb7(sus) during the bridge of
Stella. My original thought of the minor triad up a half step a la melodic
minor scale theory (Dim/Whole Tone scale) is a little weak given the presence
of the Eb, you made a good point there, I had missed that in my original
analysis.
I guess my question is, do you really write out every change implied by the
soloists on your transcriptions? I haven't seen this practice done much, wit
h the amount of chord super-impositions and substituting which many soloists
do, I would think that you would have many chords per measure in a lot of
instances. The practice I am used to seeing in print is to notate the basic
changes, allowing room for analysis in pencil.
Brian Oates