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05-25-2007, 03:07 PM
| | | | Alone Together BAR 12?
Learned it from a singer's chart a few years ago and dusting it off this morning (mostly to check the real book key) for a gig I notice in bar 12 where it II-V's to the major I've been playing a II-7 chord where the book has it as a II-7b5. Not having a recording handy or trusting either the real book or the singer's chart I'm wondering anyone know what the composer's change is for that? It's kind of just academic as I'm sure I'll be playing the RB version but one does like to know these things.
jeff
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05-26-2007, 02:40 AM
| | | | Never mind, I don't care anymore. It was bugging me so much I played the tune about three hours today and decided I like the RB II-7b5 version. It's less jarring, more subtle and the tune flows better with it than with the II-7. If the original didn't use the b5 it should have. |
05-26-2007, 05:29 AM
| | Registered User | | Join Date: Aug 2003 Location: Denver, Co. | | | Alone?
You're making this too complicated...it just resolves back to the Dm chord, unless you're thinking of another spot of the tune. Good luck....this tune deserves to be played in a jazz situation only! 
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"The opportunity was there...but it never presented itself." Phil Urso, 1980. :atoz: |
05-26-2007, 10:16 AM
| | | Quote:
Originally Posted by Paul Warburton  You're making this too complicated...it just resolves back to the Dm chord, unless you're thinking of another spot of the tune. Good luck....this tune deserves to be played in a jazz situation only! | It goes to the DMaj first though and II-V ing to that chord is what I'm talking about. Within the context of the melody either way works but the perfect 5th implies the major key (that it doesn't go to) much more strongly and makes the move back to the minor chord sound kinda clattery. The b5 makes the bar of DMaj going to the Dmin sound like a slur in the minor key.
I learned it initially from a bad chart and puzzling over something subtle like this is the difference between knowing a tune well and not. I'd hear what the piano player was doing and go along with him but by that time I'd have played a b5 over his perfect 5 over a whole bar of the -3rd in the melody and people notice things like that when done in ignorance. If I did anything wrong it's posting too quickly....I do realize now the cure for cancer isn't going to come from my note choices on Alone Together.
Last edited by anon_6j591b0 : 05-26-2007 at 11:23 AM.
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05-26-2007, 10:38 AM
| | | | Well, if the changes were in fact Emin7 to A7, 9 times out of 10 I'd play something like:
E, Bb, A, C# or whatever, so the flat 5 is in the bass anyway even it is was a straight min7.
I, and pretty much any bass player I've ever heard, use this half step leading tone concept on every tune. In fact, playing the "correct" note, a B, would sound alot less hip and smooth.
For what it's worth, I believe the changes are half dim to dom7anyways. |
05-26-2007, 11:23 AM
| | | Quote:
Originally Posted by musicman5string Well, if the changes were in fact Emin7 to A7, 9 times out of 10 I'd play something like:
E, Bb, A, C# or whatever, so the flat 5 is in the bass anyway even it is was a straight min7.
I, and pretty much any bass player I've ever heard, use this half step leading tone concept on every tune. In fact, playing the "correct" note, a B, would sound alot less hip and smooth.
For what it's worth, I believe the changes are half dim to dom7anyways. | It's the difference between a passing note in a walking line behind a solo and an incorrect chord tone in a half time line under the melody....in a ballad. Sorry if I'm being a little salty here guys but it was a dumb question and I've already said "never mind". |
05-26-2007, 12:28 PM
| | Registered User | | Join Date: Jun 2004 Location: Chicago | | | Welcome back Paul!!! Great to see you around again.
jbonny. People are just trying to help. Any thread is not just for the OP but for all the people that come along and read it. I have learned tons by just reading threads and never getting involved. It is all about the education of the entire community.
In that spirit, here's the way I look at it. Inspired by Paul's point. From reading your other post I think you already know this. This is more for others. That chord is part of a cadence. It is going to change based on the moment. That said I have always thought of it as a minor7 since it is part of a II-V-I to a major chord. I would think half diminished if it were cadencing to minor. Either way though the chord it is moving to is the important part not how you get there. The candence is more based on how much motion and crunch you want in the moment.
Last edited by Marc Piane : 05-26-2007 at 12:30 PM.
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05-26-2007, 12:41 PM
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Originally Posted by fingers Welcome back Paul!!! Great to see you around again.
jbonny. People are just trying to help. Any thread is not just for the OP but for all the people that come along and read it. I have learned tons by just reading threads and never getting involved. It is all about the education of the entire community. | Ah yes....point taken and apologies all around. Paul's comment I'm making too much of it was a fair assessment and that shoulda been it. Boy do I ever miss a lotta opportunities to keep my mouth shut..... |
05-26-2007, 02:33 PM
| | Registered User | | Join Date: Aug 2003 Location: Denver, Co. | | Quote:
Originally Posted by jbonny Ah yes....point taken and apologies all around. Paul's comment I'm making too much of it was a fair assessment and that shoulda been it. Boy do I ever miss a lotta opportunities to keep my mouth shut..... | No biggie...glad to have you as part of TBDB. 
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