| LearnJazzPiano.com archives: just the two of us | |
| mco246 -- 05/03/2005, 11:52:12 -- #13496 | |
| Hi Can someone please help with figuring this part? In the bridge of “Just the two of us” by Grover Washington, Is this the correct chord progression? Fm 7 Em 7 (b5) Ebm 7 D aug Dbm 7 C aug Back to Fm7 The sax melody start on C.. (playing over the Fm 7 chord). Are these right? What are the voicings used? whats happenning here theoretically? Thanks, Michael. | |
| Scot -- 05/03/2005, 14:35:29 -- #13499 | |
| Ah, the great Grover progression. Not quite sure what part of the song you're talking about. Here's what I play, from top to bottom: "intro" chords: ||: DbM7 | C7 | BM7 | Bb7 | AM7 | Ab7 | DbM7 | GbM7 (or Gb7) :|| next section: ||: DbM7 | C7 C7/E | Fm7 | Ebm7 Ab7 | DbM7 | C7 | Fm7 | Fm7 :|| next section (bridge?): ||: Fm7 | Fm7 | Ebm7 | Ab7 | DbM7 | DbM7 | C7 (or G7b5) | C7 :|| Hope that helps. Theoretically it's a turn-around. You're basically going from the minor 1 chord to the V7 chord, but doing it via the 6 chord so it become a standard minor progression of: 1 7 3 6 4 5 1 Voicings are simple voicings with 9ths added, but you can get as crazy as you want if the rest of your band can handle it and the crazyness doesn't get in the way of the listeners understanding what song you are playing. It's a classic tune that can be played a lot of different ways, so learn it well, plus the chord progression is used quite a bit in other tunes. | |
| mco246 -- 05/03/2005, 14:42:36 -- #13501 | |
| Scot, Thank you so much for the help! and thanks for taking the time. I'll try it when i get home from work (gotta work you know..) Michael. | |
| LarryC -- 05/04/2005, 11:14:57 -- #13523 | |
| I thought the interlude had some sus chords in it...so it would look like: DbMa7 C7sus C7 BMa7 Bb7sus Bb7 etc.... ||: / / / / | / / / / | So the 3 in each major chord becomes the sus of each dom 7 chord that follows it a half step down. That note movement also is the basis of the counterpoint line that plays against the sax riff. Great tune and fun changes to play over! Larry | |
| LarryC -- 05/04/2005, 11:17:15 -- #13524 | |
| Yuk! That formatting didn't come out right.... DbMa7 = First 2 beats of measure C7sus = 3rd beat C7 - 4th beat etc.... Also a typo..."3 in each major chord" s/b "3rd in each major chord" | |
| DaveB -- 05/04/2005, 13:04:04 -- #13535 | |
| Try this: Intro: \\\\:Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm :// Repeat 4 times Vocal: \\\\:Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm / Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm / Dbmaj7 C7 /FmEm7Ebm7Ab7/Dbmaj7 C7 /Fm / Dbmaj7 C7 /FmEm7Ebm7Ab7/Dbmaj7 C7 /Fm :// Sax interlude: \\\\:Dbmaj7 C7#5 /Bmaj7 Bb7#5 /Amaj7 Ab7#5 /Dbmaj7 Gb7 :// Solos: \\\\:Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm / Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm / Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm / Dbmaj7 C7 /Fm Ebm7Ab7/Dbmaj7 C7 /Fm :// Dave | |
| mco246 -- 05/05/2005, 00:09:34 -- #13549 | |
| thanks for all the posts guys.. theoritically if the song is generally in a Db major scale, and DbMaj7 is the {I) chord, diatonically, the (vii) chord should be Cm7(5b) , but he plays a C7. any reason why?? besides that it sounds cool.. theoritaclly is there some kind of substitution? what kind?? thanks, Michael | |
| Scot -- 05/05/2005, 01:25:44 -- #13551 | |
| In this case it's because a C7 sounds the way he wants it to sound. When the tune was written, this was the sound that he and others were using for certain kinds of tunes. | |
| LarryC -- 05/05/2005, 17:19:18 -- #13576 | |
| Michael, I wouldn't think of the Db being the I chord...think of the song in Fmi using the minor scale that has the lowered 6th and the raised (major) 7th..I always forget the name of that minor scale! To Scott's point, to the ear, the E in the V chord (C7) will resolve stronger to the tonic (F) then an Eb would. What also sounds "cool" is playing at least a C7b9 on the V chord. Try playing the song both ways (with a Cmi and C chord) and play what you like if it's your arrangement...there's really no right or wrong. DaveB, I like your use of the #5 chords!! Larry | |
| DaveB -- 05/05/2005, 18:43:32 -- #13583 | |
| Grover's solo is made up almost entirely of the Fm pentatonic scale i.e. F Ab Bb C Eb with the occasional B natural thrown in at appropriate times (giving a bluesier effect). Very occasionally he adds in a Gb note over the Ebm7Ab7 bit. Wow! It's incredible what a master can do with five notes!! Dave | |
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