Substitutions : "You Must Believe in Spring"

From: reed@reedkotler.com (Reed Kotler Consulting)

"You Must Believe in Spring" is a beautiful tune by Michelle Legrand with
lyrics by Alan and Marilyn Bergman. The sheet music is in the "Michelle
Legrand Songbook" published by Hal Leonard, a great book and a must for
every library.

This was a favourite of Bill Evans. He recorded it on his "You Must Believe
in Spring" album and in his second duo record with Tony Bennet called
"Together Again". Both are great albums.

There is a transcription by Pascal Wetzel of Bill playing "You must believe
in Spring" in one of the Bill Evans transcription books but I can't find my
copy to give a better reference. The transcription book is very good though
I have found a few mistakes in the solo sections and sometimes the chord
symbols seem to be spelled incorrected harmonically. All in all a great
book and definitely one that should be in every library.

One particularly fascinating thing about this tune is the half step
modulation in the tune.

This is a really difficult tune to play because it winds around
harmonically and then does this modulation. Without a chart you better know
it cold because it has lots of surprises. It is also 26 bars long!

Anyway it is played in B minor with a modulation to C minor half way through.

The sheet music changes are adequate but there are a couple of thematic
subs I used throughout the piece. 

The first four in the sheet music are:

C#mi7b5 ,F#7 | A#dim7/B Bm,Bmi7    |  Emi7  ,A7| C#dim7/D Dmaj7 |

The A#dim7/B is horribly mispelled in the sheet music as F#7b9.
Approaching a chord with a diminished chord a half step below is a common
technique in jazz and classical music. In fact all the diminished chords
over bass notes in the sheet music are mispelled.

The F#7 and A7 chord occur on the fourth beat beacuse of a melody note clash.

I change them to:

C#mi7b5 G7,F#7 |A#dim7/B Bm,Bmi7 |Emi7  A7sus,A7| C#dim7/D Dmaj7 |

I use a different move for the Bm measure.

C#mi7b5 G7,F#7 | Bm,Bm+,Bmi6,B7 |Emi7  A7sus,A7| C#dim7/D Dmaj7 |
 

The next four bars are:

G#mi7b5 ,C#7 | F#mi7b5 ,B7 | Emi7 ,A7 | Dmaj7 C#mi7b5,F#7 |
C#mi7b5

I apply the same moves in the first section:

G#mi7b5 D7,C#7 | F#mi7b5 C7,B7 | Emi7 A7sus,A7|Dmaj7 C#mi7b5,F#7 |
C#mi7b5

For the last bar I just use a V into the next chord for a 
very effective sound.

G#mi7b5 D7,C#7 | F#mi7b5 C7,B7 | Emi7 A7 | Dmaj7 G#7 |
C#mi7b5

The next four bars are the same as the first four:

C#mi7b5 G7,F#7 | Bm,Bm+ Bmi6,B7 |Emi7  A7sus,A7| C#dim7/D Dmaj7 |

Next there is a four bar section during which the piece modulates to C minor.

The sheet music is :

G#mi7b5 ,C#7 | Gmi7b5  , C7| Fmi7 ,Bb7 | Ebmaj7 Dmi7b5 G7 |
Dmi7b5

I use:

G#mi7b5 D7,C#7 | Gmi7b5  Db7,C7| Fmi7 Cb7,Bb7 | Ebmaj7 A7 |
Dmi7b5

The section in C minor is essentially the same as the B minor section so
I'm just going to summarize the whole piece here:

C#mi7b5 G7,F#7 | Bm,Bm+ Bmi6,B7 |Emi7  A7sus,A7 | C#dim7/D  Dmaj7  |
G#mi7b5 D7,C#7 | F#mi7b5 C7,B7  | Emi7 A7sus,A7 | Dmaj7     G#7    |
C#mi7b5 G7,F#7 | Bm,Bm+ Bmi6,B7 |Emi7  A7sus,A7 | C#dim7/D  Dmaj7  |
G#mi7b5 D7,C#7 | Gmi7b5   Db7,C7| Fmi7 Cb7,Bb7  | Ebmaj7    A7     |
Dmi7b5  Ab7,G7 | Cm,Cm+ Cmi6,C7 | Fmi7 Cb7,Bb7  | Ddim7/Eb  Ebmaj7 |
Ami7b5  Eb7,D7 | Gmi7b5 Db7,C7  | Fmi7 Cb7,Bb7  | Ebmaj7    Abmaj7 |
Dmi7b5  Ab7,G7 | Cmi            |

[end You Must Believe]