guitarbuddha -> RE: Following the leader (Mar. 25 2015 13:29:59)
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OK Mark I have had another look at that section. Here is what is really happening (two bars between commas) in the final cadence of All The Things You Are. Db,Db,Eb7,Ab (which is IV IV V I) Now shift the second bar of Db to the II7 chord (all structural two chords are standing in for the IV in standard harmonhy. That gives you Db,F7,Eb7,Ab Then split the F7 into a minor dominant pair Db,Cm/F7,Eb7,Ab That is where the Cm comes from. In the real book the Cm is apprached by Gb13, but this is a non structural chord and as such is pretty arbitrary. Another approach is from a half step above which would give you your Dbm Db/Dm,Cm/F7,Eb7,Ab Now to give a more jazz feel there are another couple of things happening in the published changes. Firstly the Eb7 is broken into Bbm7/Eb7. Next the F7 is switched for a Bdim which allows a chromatic bass line onto the Bbm7. This gives you DbMaj/Dm7,Cm/Bdim,Bbm7/Eb7,Ab The better soloists know that this is really. IV II7 V I (which I mentioned a few posts ago as one of the most common structures) And fascinatingly so do the audience (although they would never articulate this), the only people who don't know are studying harmony out of context. Good soloists can produce a range of interesting colours by making and be extremely free but hitting the important marks. People who try and spell out each chord independently and of context tend ; not to sound very interesting, don't characterise the tune at all, missed the point of jazz standard harmony, get lost, sound naive and contrived, hide behind lots of notes, don't produce any real tension, play repeating riffy figures etc etc. You can go to the moon if you want with your scale choices but they should be inflected by the tunes deep structure and a good knowledge of the language. That way you can shape tension and release convincingly. A well schooled soloist might play over completely different changes with the band playing the written ones, the result is to my ears much much more convincing than pointilistic and self deluding avant-gardism which has more to do with rock than jazz and far less to do with Ali Akbar Khan than it likes to think. D.
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