Thought I'd take a shot at a tune that I would like some imput on.
If anyone has other changes to share, I would be grateful.
Bluesette by Toots Thielemans is a jazz waltz based on be-bop blues
progressions used by Bird and others in that period.
/ Bbmaj7 / Bb6 / Am7b5 / D7b9 / Gm7 / C7 / Fm7 / Bb7 /
/ Ebmaj7 / Eb6 / Ebm7 / Ab7 / Dbma7 / Db6 / Dbm7 / Gb7 /
/ Cbmaj7 / Cb6 / Cm7 / F7 / Dm7/ Db7 / Cm7 / F7#9 /
Here's a rudimentary reharmonization. I start by adding the F7+
on the third beat of the first bar as a passing chord for color.
/ Bbmaj7 F7+/
On the second bar, I add another passing chord on the third beat G7b9 as a
relative minor to Bb but with a major third and flat nine.
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5 /
Then on the fourth bar D7#9 to D7b9 creates a counter melody
from the F to the Eb for interest.
/ Bbmaj7 F7+ / Bb6 G7b9 / Am7b5 / D7#9 to D7b9/
on the fifth bar an Em7b5 subs for the Gm7
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 to D7b9 /
/ Em7b5 / (relative minor to G)
and it sets up the next sub A7b9 (A being the rel min. to C) and it
establishes a II-V to the D.
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 /
Then sneak a Dm7 on the first two beats to complete the cadence and jump
to the rel. maj. for Fm7.
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 /
Tri-tone relationship to Bb, an E7. (bII7=V7b5b9)
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 / E7 /
I left the next three bars alone.
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 / E7 /
/ Ebmaj7 / Eb6 / Ebm7 /
I used the D7 tri tone Ab7
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 / E7 /
/ Ebmaj7 / Eb6 / Ebm7 / D7 /
Next three bars same
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 / E7 /
/ Ebmaj7 / Eb6 / Ebm7 / D7 /
/ Dbmaj7 / Db6 / Dbm7 /
Next C7#9 and b9 are the tri-tone chords to Cb
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 / E7 /
/ Ebmaj7 / Eb6 / Ebm7 / D7 /
/ Dbmaj7 / Db6 / Dbm7 / C7#9 C7b9 /
Next three chords same
/ Cbmaj7 / Cb6 / Cm7 / then Cb#11 (tri-tone)
Then a turnaround sub for the last four bars
/ Dm7 / G7#9b13 /(the only change) / Cm7 / F7#9 /
The G7#9b13 is just an alteration of a iii-vi-ii-V turnaround progression.
Here's the whole tune with subs
/ Bbmaj7 F7+/ Bb6 G7b9 / Am7b5/ D7#9 D7b9 /
/ Em7b5 / A7b9 / Dm7, Fm7 / E7 /
/ Ebmaj7 / Eb6 / Ebm7 / D7 /
/ Dbmaj7 / Db6 / Dbm7 / C7#9 C7b9 /
/ Cbmaj7 / Cb6 / Cm7 / Cb#11 /
/ Dm7 / G7#9b13 / Cm7 / F7#9 /
Let me know what you think. Thanks.
Frank Hamilton