Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Double Bass I Love You
- Thread starter lurk
- Start date
The C and F chords must have the roots in the bass.
The Eb chord - ?
P.S. My chord voicing class starts tomorrow.
If you play a Db in the bass, it possibly becomes/sounds like, a "Dbxxxxxxx" chord of some type - or an "Ebmin13(#11)with a Db in the bass" chord. I would need to see/hear what comes next as you approach Fmaj7 to decide if I understand your harmonic scheme.
But - It's a free country - don't let ME stop you!
Thanks!
For some it's a "Stay-at-home" or "Shelter-in-place" country.
Currently, I'm away from any keyboard, and it's difficult for me to hear my cluster (....) chords in progression.
As always, thank you for your time spent answering my questions.
Always good to converse "in - place" with you, WUTP!For some it's a "Stay-at-home" or "Shelter-in-place" country.
Currently, I'm away from any keyboard, and it's difficult for me to hear my cluster (....) chords in progression.
As always, thank you for your time spent answering my questions.
Be Well.
Thanks.
Before you leave, do you pay any attention to that G# note in the melody with Fmaj7?
Would you harmonize it or just leave it as a "Blue note"?
Good Question - I would use a Tonic Diminished chord (Fdim7) for the G#, and then to Fmaj7 for the A during the statement of the melody - then, just use Fmaj7 for the soloing.
Just like Bill Evans does at 0:20, below.
Thanks!
I think that incoming G# messed up my A note with your Gmin9(b5) chord; therefore,
I decided to "démontage" (disassembly) my Ebmin13(#11) chord that made you SOOOO MAAAAAAAD, and go with less tensional Gbmaj7(#11).
OK. Just make sure you pass out YOUR leadsheet with YOUR changes to the whole band!
The G# in m.2 shouldn't have any bearing on the chords in m.1. (You've now changed the Time Signature - your example above should be 4 measures.....)
Also - The C7 chord in your example above has a Natural 9 - but, the b9 there is more common...and mo' better.
I guess your "De-Arranging" this tune!
It's a free country!
Harmonic Distancing!!!!!
Thanks!
Should I add another flat?
Also, I've left A with the C7(b9) chord, because you mentioned it.
Last edited:
In the example above, the time signature is just for a prompt chord notation - for your and my eyes only.
SORRY! I missed the accidental as I hear this tune in 4/4.
My Sincere Apologies.
I know it’s the nature of theory to be able to analyze/name a chord or progression but sometimes it’s just what the person played at that particular moment because they thought it would sound good.
Y’all can string me up now.
Y’all can string me up now.
Some of us like to know why it may have sounded "good".
Also - Do you teach?
Just my inquiring nature.
Thanks.
This, plus many people who understand why any given note sounds good also understand that there are multiple possibilities, that it's more about how a note resolves in a horizontal melodic line than how it's analyzed in a frozen vertical moment in time, and that there's no "jazz law" that states that the line and the voicing must always match.
Yup, from Bb melodic minor. A nice choice for half-diminished chords. And, you can move the whole thing up a minor third for an altered sound on the V7 chord.
From my amateur pop musician's point of view, when I see Xmin7(b5) followed by Dom7(b9) (especially, that b9), I immediately assume - it's that iimin7(b5) - V7(b9) - i (minor), but...
In jazz, one could easily substitute iimin(7) with iimin7(b5) without any worries of WHY.
Hi,
No, I don’t teach.
I do understand the importance of being able to quantify and properly “unpack” these things in order to help us understand them...particularly in educational settings. I’ve got to apologize, sometimes I just get testy I guess.
I remember years ago sitting in a room with Bob Berg and a class full of eager students(as a student). After blasting through some choruses of rhythm changes(or possible another standard) one of the students asked him why he played a certain “thing” or “note” in a certain spot. His response was, “because it sounds good”. He also had other surprisingly “simplistic” answers that day...Indidnt learn any new jazz theory that day but I learned a lot.
