Substitutions: "It Never Enterred My Mind"

[reed]

"It Never Enterred My Mind" is a wonderfly delicate song with music by
Richard Rodgers and words by Lorentz Hart. (Even though it is a 34 bar
tune !)

There is a nice new book that just came out with many of the Rodgers and
Hart songs. It's called "Rodgers and Hart, A Musican Anthology"
published by Hal Leonard. Another must book.

In the sheet music, the first six bars just consits of F Am over
and over.

F Am | F Am | F Am | F Am |
F Am | F Am | Gm7  |  C7  |

I instead create some chord movement by gently reharmonizing.

F F+     | F6 F+ | F6 Gmi7 | F6/A Gmi7 |
F6 Gmi7  | F6/A  | Gmi7 | C7 |

To keep the two chord per beat pattern going, I put the tritone sub
for the V7 of Gmi7 in (Ab7 for D7).

F F+     | F6   F+  | F6 Gmi7 | F6/A Gmi7 |
F6 Gmi7  | F6/A Ab7 | Gmi7    | C7        |

In addition it works nicely to move more strongly into the C7 with a G7,
but only after playing the Gmi7. This carries the two beat per chord
pattern. The C7sus is similarly used.

F F+     | F6   F+  | F6 Gmi7   | F6/A Gmi7 |
F6 Gmi7  | F6/A Ab7 | Gmi7 G7   | C7sus C7  |

The next eight I treat essentially the same, however going into the
bridge I replace the Gmi7 with a G7sus. Why? It just sounds good.

F F+     | F6   F+  | F6  Gmi7   | F6/A Gmi7 |
F6 Gmi7  | F6/A Ab7 | G7sus G7   | C7sus C7  |

Throughout, there is possible inner voice movement. It's hard to explain
this without you have the score. But for example, most of the Gmi7
chords that dont go to C7 chords can be followed by a gmi6, by just
having the F resolve to an E. Gmi6 is very closely related to C9 and
functions that way here to give us a quietly stated ii/V7.

The first four bars of the bridge are essentially:

F6 | Gmi7 C7 | F6 |Gmi7 C7 |
Fmaj7

I just add some variety here. Nothing fancy. Anyone not sure about what
I'm doing here, please look at some of ny previous posts.


F6 Ab7 | Gmi7 C7 | Ami7 Abdim7 |Gmi7 C7 |
Fmaj7


The next section is horribly mispelled on the sheet music. You have to
analyze the score to see what's going on.

Fmaj7,F6 Gmi7,C7 | Ami7,F/A Bdim/Ab | C7  | Bb  C7 |
F

I make some routine changes here:

Fmaj7,F6 Gmi7,Gmi6 | Ami7,F/A Bmi7,E7 | Ami7 D7  | Gmi7  C7 |
F


I tried to reflect the inner voice movement in the above notation.


The last eight start off like the first four so I use:

F F+     | F6   F+  | F6 Gmi7 | F6/A Gmi7 |

Then the sheet music has a bad mispelling of Cmi6 where it should
be Ami7b5 (they are enharmonic).

F  Am  | Ami7b5  D7 | Gmi7 ,C7| F    |
Gmi7/Bb ,C7  | F6

I use my earlier move:

F F+           | Ami7b5,Eb7  D7sus, D7 | Gmi7 ,C7| Ami7 D7sus, D7|
Gmi7 C7sus,C7  | F6      |

[correction --->Gmi7]

So in total I get:

F F+               | F6   F+               | F6 Gmi7     | F6/A Gmi7    |
F6 Gmi7            | F6/A Ab7              | Gmi7 G7     | C7sus C7     |
F F+               | F6   F+               | F6  Gmi7    | F6/A Gmi7    |
F6 Gmi7            | F6/A Ab7              | G7sus G7    | C7sus C7     |
F6 Ab7             | Gmi7 C7               | Ami7 Abdim7 | Gmi7 C7      |
Fmaj7,F6 Gmi7,Gmi6 | Ami7,F/A Bmi7,E7      | Ami7 D7     | Gmi7      C7 |
F F+               | F6   F+               | F6 Gmi7     | F6/A Gmi7    |
F Gmi7             | Ami7b5,Eb7  D7sus, D7 | Gmi7 ,C7    | Ami7 D7sus,D7|
Gmi7 C7sus,C7      | F6      |

[end it never entered my mind]