Substitutions: Time After Time From: reed "Time After Time" is a wonderful tune with music by Jules Styne and Lyrics by Sammy Cahn. The sheet music is in a really nice book called "The New Sammy Cahn Songbook". I prepared a complete analysis of this on Wednesday night and a set of subs. I saw Don on Thursday and he offered a set of changes that he says are the ones that most top bass players in the SF Bay area would use. They are quite different from what I play though I think it will be fairly clear to people how the changes I got from Don would be derived from the sheet music changes. I'll present them at the end after my usual summary. This also illustrate what I was explaining about how Don told me that originally alot of the hip subs came from piano players listening to the bass lines and then add the vertical components. This is not a tune that I would usually play except in a solo piano setting. I might call it if I was playing guitar with a piano and bass and let them decide the changes and then just play by ear along with them. With a bass player I would give them my changes so they arent surprised. The main reason is that there would be too many harmonic variations without a chart. To clarify some recent comments I made regarding bass players and subs: I can hear a fair amount of tune variations and adjust to the bass player but not nearly as much as bass players can usually do. I try to improve in this respect but I don't consider it to mean I'm not a good player. The ability to adjust for me falls under the category of musicianship. The ability to adjust depends alot on experience and frankly how many times you've been in a situation in which you arent in charge of the changes. Also, I've even seen world class piano players drag some poor bass player that's never played with them before all over the harmonic map (with no chart of course) but when they are in a situation and the tables are reversed and the bass player plays some simple variation, they can't adjust at all. I find this to be a general rule. Bass players play with alot of different piano players and get pretty adept at adapting whereas the piano players couldnt do the same if they were in the same position. Okay, on to the tune. The first four in the sheet music are: C Ami | Dmi7 G7 | C Em | Dmi7 G7 | C The first turnaround works nicely as: Cmaj7 Ab7 | G7sus G7 | C Em | Dmi7 G7 | C The second turnaround just works better for me as iii/VI ii/V. Looking to avoid constant resolving to the I is an important consideration when doing subs. Cmaj7 Ab7 | G7sus G7 | Emi7 A7 | Dmi7 G7 | C Next the tune sneakily modulates to A minor. C | Ami | Dmi | E7 | Ami The Dmi is the iv of ami and usually in these kind of situations it works better as a ii/V. The chord quality can be either mi7b5 or mi7. I tend to use mi more often in these situations and I would say Don tends to use mi7b5 more. Its just a matter of taste. C | Ami | Bmi7 | E7 | Ami I also find the a V7 is very effective here in approaching the Bmi7. I don't know why. It just seems to add alot. I also just use ami7. Cmaj7 | Ami7 F#7 | Bmi7 | E7 | Ami The next four in the sheet music are: Ami7 | F#mi7b5 B7 | Emi | Emi7b5/Bb A7 | Dm The F#mi7b5 is misspelled as Ami6. We've talked about this common problem in sheet music. Similarly the Emi7b5 is misspelled as Gmi6. I prefer to use F#mi7 and have a few variations for this section: Ami7 | F#mi7 B7 | Emi7 | A7sus A7 | Dm or possibly: Ami7 | F#mi7 B7 | Emi Emi#7 | Emi7 A7 | Dm The next four I have several variations for too. The sheet music is: Dmi | Dmi7 | | G7 Dmi7,G7 | C Here are some variations I use: Dmi7 | A7 | Dmi7 Ab7 | G7 G7sus,G7 | or Dmi Dmi#7 | Dmi7 Ab7 | G7 Ab7 | G7sus G7 | The next four bars are essentially the same as the first four. So essentially I use: Cmaj7 Ab7 | G7sus G7 | Emi7 A7 | Dmi7 G7 | After that the sheet music has: Cmaj7 | C9 | F | ,Fm/Ab | C/G The C9 is obviously Gmi7 C7. For the Fm I just use Bb7 which we've seen before as a common sub for the ivm in a minor plagal cadence situation. Cmaj7 | Gmi7 C7 | Fmaj7 | Bb7 ,Bb7/Ab | C/G The next four are: C/G | F#mi7b5 Fmi6 | C/E Am | D7 | C/G This section is horribly misspelled in the sheet music because by messing up the roots, the essential bass line is lost here. C/G is misspelled as C, F#mi7b5 is spelled as Ami7 and C/E as C. I leave out the Am and just continue the downward chromatic walk. The D7 gets the ii/V7 of it's tritone sub. C6/G | F#mi7b5 Fmi6 | Emi7 | Ebmi7 Ab7 | C/G The last four are just: C6/G Ami7 | Dmi G7 | C | | I just leave that alone. I use the following turnaround when heading back to the top. C6/G Ami7 | Dmi G7 | Abmaj7 Dbmaj7 |Dmi G7 | I explained this move in my post for "I Remember You". So in total I get: Cmaj7 Ab7 | G7sus G7 | Emi7 A7 | Dmi7 G7 | Cmaj7 | Ami7 F#7 | Bmi7 | E7 | Ami7 | F#mi7 B7 | Emi7 | A7sus A7 | Dmi7 | A7 | Dmi7 Ab7 | G7 G7sus,G7 | Cmaj7 Ab7 | G7sus G7 | Emi7 A7 | Dmi7 G7 | Cmaj7 | Gmi7 C7 | Fmaj7 | Bb7 ,Bb7/Ab | C6/G | F#mi7b5 Fmi6 | Emi7 | Ebmi7 Ab7 | C6/G Ami7 | Dmi G7 | Abmaj7 Dbmaj7 | Dmi G7 | Okay, so on to the changes I got from Don. These have a few variations too. I'm going to give two variations though these is alot of mix amd match than can on on between the two. I'm just out of time for this tune and these are not the changes that I would use though. C,E7/B Ami | Dmi7 G7 | C Emi | Am7/D,D7 Dm7/G,G7| Cmaj7 Ami7,(D9) |Gmi7 C9 | F13 (B7+#9)| Dm/E E7 | Am Ami7/G | F#mi7b5 B7 | Em | Emi7b5 A7 | Dmi Dmi/C | Bb13 A7b9 | Ami7 Ab9 | G7 D7/A,G7/B| C,E7/B Ami Ami7/G | Dmi7 G7 | Emi7 A7b9 | Dmi7 G7 | C Ami7,(D9) | Gmi7 C7 | F | Fmi | C Am/G | Am6/F# Fmi6 | C/E Am | D7 D#dim7 | Emi7 A7 | Dmi7 G7 | C | | or C,E7/B Ami Ami7/G | F#mi7b5 Fmi6| Emi7 A7 | Am7/D,D7 Dm7/G,G7| Cmaj7 Ami7,(D9) |Gmi7 C9 | F13 (B7+#9)| Dm/E E7 | Am Ami7/G | F#mi7b5 B7 | Em | Bb9 A7 | Dmi Dmi/C | Bb13 A7b9 | Ami7 Ab9 | G7 D7/A,G7/B| C,E7/B Ami Ami7/G | Dmi7 G7 | Emi7 A7b9 | Dmi7 G7 | C Ami7,(D9) | Gmi7 C7 | F#mi7b5 | B7b9 E7+#9 | Am Gmi7 | Am6/F# Fmi6 | C/E Am | D7 D#dim7 | Emi7 A7 | Dmi7 G7 | C | | [end time after time]