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Double Bass I Love You
- Thread starter lurk
- Start date
Both of these are from the year it was written, and they both sound like they start with iim7b5. That's the "standard" way I've always heard it played.
Der Bingle in Db
Jo Stafford in C
I've always played it that way too, G-7b5. I've started transcribing Bill's solo and he plays F- stuff there which makes me think of DbM or maybe Bb-7. The Db gives you the same kind of move Cole Porter uses in Night and Day, or at least the way most folks play that tune nowadays. Just wondering if anyone else plays it that way. Pretty similar sounds especially in piano voicings. I've got too much time on my hands these days.
It's very much like "Night and Day" in that the main tonality shifts back and forth between minor and major. In this case, the progression is a mode mixture setting of a minor iiØ-V resolving to a major 1, much like "Night and Day". Doesn't really matter if the mode mixture chord is a iiØ, a minor iv, or a bVIMa7...the big picture result is the same. (IMO, EEMWDSOCB, etc.)
Don't forget to explore Gmin9b5 - the A natural there is a pretty note, and fits nicely in C7b913, the V7b9 chord following.
Art F. likes it at 3:13 -
Thanks.
Nice album isn't it. Art and Bill are wonderful throughout. Benny Golson I've always thought of as a genius composer who played too.
Art Farmer is like a Sane version of Freddie Hubbard. What a beautiful and underrated player.
Yes.
Thanks.
Yes.
Thanks.
It's a nice substitution! If you keep the A in mind you get Dbmaj7#5 -> C7b9, which is a cool sound imo. Bill does substitutions like this all the time. His interpretation of All of You on Sunday at the Village Vanguard is a reharm that's really just a bunch of chord substitutions for the original changes. The first few measures of that version (disregarding the pedal) are Dbmaj7#11 -> Cmaj7, similar vibe.
Trying very hard to explore the A natural note in that particular environment/that particular measure.
This is best explored and heard at a piano, against a voicing of Gmin9b5. Or, listen to Art Farmer in the YT example above.Trying very hard to explore the A natural note in that particular environment/that particular measure.
Thanks.
Don,
In your provided YT example, the first chord voicings on the piano sound (descending)
Db - (C as possible) - Bb - G and F(sotto voce).
It's very easy to incorporate Ab but not that A in that particular measure of that particular YT example.
It's, maybe, my "pre-set/indoctrinated" anticipation of the song's harmony.
On the other hand, I truly enjoy your add9 "seasoning" to various types of chords you comment about.
There is probably no G in that voicing - pianists rarely waste a left hand finger playing the Root when a bassist is present.
This may be true for you, but not for me - I can "hear" A natural in that chord and in the next C7(b9,13) chord, as well.
Beauty (Ugly?) is In The Ear of The BeHearer!
Thanks, WUTP.
Yes, it's a nice harmonic movement.
What if I re-harmonize that Gmin9(b5) into Ebmin13(#11)?
Well, it's a nice sounding chord, (as a "stand-alone" item), but I don't hear it as functioning as a strong harmonic link or path to the C7... or to the Fmaj7.
"...ear of the behearer...", etc.
Thanks!
- Dec 13, 1999
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- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
With some of the pianists I've worked with, that should read "ear of the beheader..."
No, THANK YOU, Don.
How mad would you be if your student have offered the following resolution to Fmaj7?
I would ask if he forgot to change the batteries in his hearing-aids, recently.
Then, I would chastise him for continuing to write non-idiomatic root position chord voicings that would never be heard on a recording of any merit - we've discussed this at length from day 1.
Then I would open a fresh RED Permanent Marker!
(smiley face here!)
Seriously - Please provide the chord name of each voicing that you would write on the leadsheet. I need to know the root movement (and extensions.....) that you're suggesting - (is it Eb - E - F ?)
Thanks, WUTP!
