>
>/ 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.
How bout this:
/ Bbmaj7 F7+/ Gm7 E7b9 / Am7b5 /
I thought about replacing the F7+ with a D7b9 but I liked the deceptive
cadence the F7 provides.
>/ Bbmaj7 F7+ / Bb6 G7b9 / Am7b5 / D7#9 to D7b9/
I'd rather use a B U.S. (upper struc.) triad over the D7, just the tritone
F# and C. The #9 (F) in the D7#9 really conflicts with the melody note, F#.
>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 /
I like this, I'm not sure I would do it but it sounds interesting. Your
analysis is a bit shakey though. Am7 is the rel. min. to C but an A7b9
would function as the V of III. The relative minor is not applicable in
this case as we are in Bb anyway. Em7b5 is the related IIm7b5 of the A7b9.
>Then sneak a Dm7 on the first two beats to complete the cadence and jump
>to the rel. maj. for Fm7.
Same criticism applies as to analysis.
>/ 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 /
hmmm, why not make the Fm7 dominant.
/ Bbmaj7 F7+/ Gm7 E7b9 / Am7b5 / D7 usVI
/ Em7b5 / A7b9 / Dm7, F7 / 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.
How bout for a turnaround:
/ Ab7 / G7 / F#7 / F7 / with upper structure triads built on the II on
each chord.
>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
/ Bbmaj7 F7+/ Gm7 E7b9 / Am7b5 / D7 usVI
/ Em7b5 / A7b9 / Dm7, F7 / E7 /
/ Ebmaj7 / Eb6 / Ebm7 / D7 /
/ Dbmaj7 / Db6 / Dbm7 / C7#9 C7b9 /
/ Cbmaj7 / Cb6 / Cm7 / F7 usII /
/ Ab7 usII/ G7 usII/ F#7 usII/ F7 usII/
wheww, this is time consuming and I petered out at the IV chord. I think my
approach to reharm is a little different. I'm a piano player and I have my
favorite devices. Voicings, drop 2, fourths etc. So I analyze the melody
and take what it gives me and reharm so that I can use certain voicings
(upper structure especially). This is one way to develop a style, find the
sounds you like and look for places to apply them.
So in this melody, in the scalar parts in bars 1-2, 9-10 and 17-18 I would
use the drop 2 George Shearing type voices on the melody. I still have'nt
really assimilated the tune but where the melody jumps I would look for the
upper structure type chords that I just live for :-) I show those by the us
and the roman numeral showing the root of the triad in relation to the
chord. The Jazz Piano book by Mark Levine is a good text for this technique.
My wife appreciates the fact I'm not playing Days of Wine and Roses tonight.
John <jhyde@lightlink.com>