>In the areas of decending dominant chords you can approach
>them with ii chords or sus chords. Thus the first 4 bars can
>be:
I don't think either of these variations does justice to the chromaticism
of the melody. How about
D9,Ab7 G9,Db7 | C7,(b9) FM7,Bb7 | etc., or
D9,Db9 C9,Cb9 | Bb9,F#7 FM7,Bb7 | etc.
Similarly, for the last measure of the bridge, I like
Bb13,B13 C13,C#13 |
Of course changes this thick work better a slow tempos.
---- Fathom ---- > 8-) >
"The hippies frowned on me because I didn't abandon
the rational part of my mind, while the straights disowned me
because I didn't abandon the irrational part."
--Spider Robinson