>Some of the chords you have in there sound nice
>suggest interesting possibilities but a reharmonization
>doesnt work unless the bass line ends up making sense.
How about, then, Bbma7 F7+ / Bb6 G7b9 / Am7b5/C Am7b5 / D7#9 D7b9 /
I think that this bass line will make sense.
>
>For example, the g7b9 is an interesting chord there.
>You'll notice though that replacing it with an E7b9 (what I
>did) follows more naturally into the Am7b5 and is actually
>a related chord (by another chord in the same diminished scale).
The implication of the E7b9 chords suggests a different feeling even though
the E7b9 progresses to the Am7b5 via a fifth in the bass. Theoretically it
is correct but to my ears, it doesn't sound as "right" as what I had in mind.
>
>If you have a g7b9, that suggests going to a Cm6 (which is
>enharmonically the same as an Am7b5) but if you go that way
>you have to make the whole piece work. I couldnt see an obvious
>way to do that.
I don't see the problem. The G7b9 pulls the ear into the Cm6 tonality and
as an Am7b5 it escapes as a pivot chord to the D7#9. (ii-V of Gm)
>
>If you spend alot of time on this you may find a way to put
>the right passing chords to get it all to work. John had a few
>good ideas.
>
>Similarly, you can use tritone subs later on but you have
>to have the whole reharm play together.
To my ears, it plays well. With one exception. The Cb7#11 in bar 20 is
redundant. Here the wandering chromatic bass line doesn't work well. I
would sub that chord with 2 chords Ebm(Maj7) Ab7 (ii-V of Db)
>
>It's really hard work. In the beginning I was lucky if I could
>come up with a new chord here or there once in a while. In a whole
>several weeks or practicing I might find one or two new chords. Doing
>a whole tune from scratch from the sheet music would have been
>an impossibility.
>
>I mean these tunes have already been gone over by top recording
>artists so you have to get up pretty early in the morning
>to improve on what they do.
I'm ready to set my alarm clock. How 'bout you? (Which reminds me of a
great song). :)
>
>I'm fairly fast at it now because I've been doing it for many years
>and because I studied with Don Haas and Richard Hindman who
>are very harmonically sophisticated and were, I assure you, quick
>to point out when my subs went nowhere.
>
>I've also seen many good examples of subs from these other players.
I'm sure you are very knowledgeable.
Check these reharms on the first eight bars of Bluesette and give me your
criticism please.
/ Gm7/ C9 / Eb/F / F13b9 / Bb/Eb / A/D / Dbmaj7 / Gb9b5 E7#11 /
/Ebmaj9 /
Frank