| Fmaj7 | G-7 C7 | Fma7 | F-7 Bb7 |
| Ebma7 | Am7b5 D7 | Gma7 | Gm7b5 C7 ||
| Fmaj7 | G-7 C7 | Fma7 | F-7 Bb7 |
| Ebma7 | Am7b5 D7 | Gma7 | Gm7b5 C7F7 ||
| Bbma7 | Bbma7 | Bb-7 | Eb7 |
| Abma7 | Abma7 | Gm7b5 | C7 ||
| Fmaj7 | G-7 C7 | Fma7 | F-7 Bb7 |
| Ebma7 | Am7b5 D7 | Gma7 | Gm7b5 C7 |
| Fma7 | Eb7 D7 | G-7 C7 | Fma6 ||
It's basically an ABAA tune with a 4 bar tag at the end. The A sections are
interesting in that they go through 3 tonal centers; F, Eb, and G. One of
my ideas to start with on this tune was to sub by quality. In other words,
Tonic chords are I, III, VI: Sub-dominant II, IV: Dominant V and VII.
Chords within each category can be substituted. Here's the first 8:
| A-7 Abo7 | G-7 Eb7 | D-7 B7 | Bbsus7 Bb7E7 |
| Ebmaj7 | Am7b5 D7 | Gmaj7 | Db7 C7F#7 ||
The D-7 in the 3rd bar is a good ex. of sub. by quality. (VI for I) The A-7
in the 1st bar could be thought of as a sub by quality but actually will
sound like your basic III, VI, II, V progression. Bars 9 - 16:
| B-7b5 Bbo7 F6/A Abo7 | G-7 Db7 C7 Gb7 | Db7/B F6/C | Bbsus7 B7
Bb7Bo7 |
| C-7 | D7b9sus C-7 B7 | Bbmaj7 | Db7 C7 B7 ||
Ouch! I hope that's not too hard to read. Bar 9 is actually seen most often
as an ending; Starts on the #IV and goes down chromatically, in bar 10 I
felt like I had to keep the chord per beat motion going so I threw in some
tritone subs, bar 11 is a classical cadence that Duke used alot, I'm sure
Reed knows the name of it; voice it from the top G,Db,Ab,F,B to F,D,A,F,C.
The C-7 in 13 is an example of sub by quality.
Da bridge:
| A-7b5 Ab7 G-7 Gb7 | Fm7 B7 Bb7 Bo7 | C-7 F7 | Bb-7 Eb7A7 |
| Abmaj7 Dbma7 | Gb7 F7 | E7us2 | Eb7 C7 Eb7/Bb ||
Did I mention that I'm thinking of this tune as a ballad? I really like the
C-7 in bar 19 and the preceding 2 bars are pretty much setting that chord
up. I expand the melody in beat 3 and 4 of bar 21, 8th note to quarters so
the melody extends into 22. us in bar 23 means F#triad over E7. You can sub
dominant chords min. 3rds apart which is what I'm doing in 24, in
diminished harmony the C7, Eb7, Gb7, and A7 would all use the same
half/whole diminished scale so the chords are interchangeable as long as
the voicing you use is from that scale.
Last 12 (in the thank God category!)
| A-7 Abo7 | G-7 Eb7 | D-7 B7 | Bbsus7 Bb7E7 |
| C-7 C-7/Bb | Am7b5 D7Ab7 | Gmaj7 | Db7 C7 |
| F7 E7 | Eb7 D7 | Db7 C7 | B7us#IV ||
Well, there you go, please go easy on me Reed :-0 I realize that there are
too many chords, I also realize that I play to many notes, someone told me
a long time ago that musicians get paid by the note and I'm applying that
theory to reharm. :-)
John <jhyde@lightlink.com>