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rythym changes

Discussion in 'General Instruction [BG]' started by tomtrb, Jul 23, 2002.

  1. tomtrb


    Apr 17, 2001
    Ive been playing jazz now for about a year and have encountered many tunes with this form and have gotten pretty well aquainted with the changes. I understanand that the basic structure of the first four bars is (ex. Bb) BbM7 G-/ C- F7/ D- G7/ C- F7. My question pertains more to the second eight bars of the A section. If the basic changes (I know there are lots of variations!) in the second four bars are BbM7 Bb7/ EbM7 Eb-/ then the standard turnarounds, what Im wondering is do you generally see this as a modulation to Eb, and just see the Bb7 as a secondary dominant to the new key?
    (I just wrote out alot of the changes I had questions about and I can see the resolutions within particular voices of the chords. Perhaps I just want to justify changes that just sound cool).

    Also, when you see the EbM7 Eb- / D- G7 / C- F7 /
    does Eb- just act as a passing chord to the iii chord of original key?

    I guess alot of this is differnet ways of seeing the same thing. For instance, do you see the bridge functining more as a iii vi ii V with all dom. chords, or do you see them as sec. dom. like V of vi / V of ii / V of V / and finally V7?

    Alot of these questions seem to resolve themselves when I breakdown the progression and look at individual voice leading. Then I understand why one chord leads into another. Is this sort of ideology common with respect to jazz - finding chords that move the voices how you want them to with little concern for the rules of traditional harmony?
    There are so many ways to see this stuff, it can be blinding!

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