| LearnJazzPiano.com archives: My Foolish Heart | |
| pianogirl -- 02/10/2004, 10:11:20 -- #872 | |
| Does anyone know the "correct" Bill Evans changes for My Foolish Heart? And any suggestions for some interesting alternate changes? I have the real book changes but some of the bars seem a bit suspect (i.e. bar three with C-7 and C-7/Bb). I am playing this tune in a quartet (rhythm section plus trumpet) in a college workshop. Thanks in advance! | |
| smg -- 02/10/2004, 13:48:45 -- #895 | |
| Here's the changes from the VRB(Patt-see link above): Key of Bb Bb/Gm7/Cm7/F7 x2 Bb/Bb7/Eb/Am7b5 D7/1.Gm Gm w/maj7/Gm C7/F6/F7 2.Gm7/Gb7/Bb/Dm7b5 G7/Cm7/F7/Bb/Bb I re-formatted them to save space,basically you've got I/vi/ii/V x2 then I/I7/IV/VI7,this happens both times through the form;the first ending is vi/II7/V/V7,the second is vi/bVI7(tritone sub for V)/I/VI7/ii/V/I/I. This tune is a very good one for using to study/learn what's involved in "interesting alternate changes",being a structure made up of standard diatonic progressions that go back 500(?)yrs.in Western music.One thing that happens is that "secondary dominants" are used to set up "temporary key centers" within the "home key".(There's a thread dealing with this on the old site,access this from the "welcome" screen and use "search" when you get there,I think it was called"Secondary Dominants").In bar 10,the IV chord;bar 3 of the first ending,the V,and bar 5 of the second ending,the ii chord are all "resolved to" in dom/tonic patterns. Breaking the tune down like this allows you to see a "blueprint" of the underlying progressions that are connected to create the song as a whole.The next step,although for anyone seeing this type of thing for the first time possibly producing an emotional reaction similar to the experience of watching the worst part of the latest horror film,becomes very simple. Going over to links,there are some online sources of info for the possibilities for substitution available.In my honest opinion,the type of stuff represented is as complete and user-friendly as exists,you literally have the equivalent of the jazz dept.of any of the top schools represented(in terms of knowledge only....all the other aspects of interaction,support,etc that make involvement in these invaluable being approximated here in the forum at times)... As far as the Cm7-Cm7/Bb(note-use of slash marks different here than in listing of changes above;here I'm using them like pianogirl did to represent a bass line movement.In the RB,a lot of times you'll see this kind of thing,i.e. the next bar would be F/A creating a bass line of C-Bb-A,info re-this is also over there in links.... I would approach substitution on this or any similar type of structure by turning as much of it into dom7 as I could,also I'd take sections where progressions exist and use one dom7 in place of the progression.Then I would build substitutions off of the dom 7. I purposely used a very vague,hopefully intriguing descriptive style in the last paragraph above in the hope that those like pianogirl who are on their way into the world of understanding things will be led to the links section out of curiousity and try to see what the h-ll I'm talking about. | |
| smg -- 02/10/2004, 13:54:03 -- #897 | |
| Expanding on the voicings used to play the basic changes without getting into all the possibilities for substitution is another thing to get into,here you'd be using the same progressions referred to by the Roman numerals but the chord types would change(in the kind of substitution I'm referring to above,the actual progressions would change)..check out Julie's thread re-AL on this page for a little more about this... | |
| pianogirl -- 02/10/2004, 16:44:19 -- #903 | |
| Thanks for your response to my message. After I posted it I thought that it might sound like "do my work for me" which was not what I intended! :-) And your thoughtful response luckily for me took it in the spirit that I did intend. Off to the links...and Julie's re-AL thread.... | |
| Rich Browne -- 02/11/2004, 02:46:18 -- #913 | |
| yeh hi- cant actually play but jazz piano kicks asssssssssss! | |
| Rich Browne -- 02/11/2004, 02:47:06 -- #914 | |
| dont wanna look wierd and reply do my own message but yeh- it does | |
| sid -- 02/13/2004, 02:25:15 -- #1056 | |
| Hello pianogirl Your post reminded me that a few years ago I was part of a charity fundraiser for the cardiac unit of the local hospital and we played a set consisting entirely of standards with "heart" in the title (My heart stood still, Good morning heartache, You are my heart's delight etc). So I dug out of the file the changes we used and, yes, there's My foolish heart. I've never heard the Bill Evans version but here's what we did for the first 4 bars: Bbmaj7//// | Gsus// G7b9// | Cm7//// | Em7// A7//| The resolution from that final A7 back to Bb in bar 5 is nice, I think. As someone with an aversion to ii-v-i, I like alternative ways to get back to the i chord and vii7-i is a useful cadence if you can fit it in. It's reminiscent of the start of Someday my prince will come (F - A7 - Bb) and I still remember with pleasure the moment of enlightenment many years ago when I discovered this new (to me) way of getting from F to Bb. If it's of interest, I can post the rest of the Foolish heart progression from the file. sid | |
| pianogirl -- 02/13/2004, 07:38:58 -- #1065 | |
| Yup, I am interested Sid! Post away. Sandra | |
| sid -- 02/13/2004, 08:46:41 -- #1082 | |
| OK, here goes: Beware, my foolish heart | Bbmaj7//// | Gsus// G7b9// | C-7//// | E-7// A7// | | Bbmaj7// D7// | G-7// F-7// | Ebmaj7//// | Fsus// F7// | | Bbmaj7//// | Bb13//// | Eb6//// | A-7b5// D7// | | G-7//// | E-7b5// A7b9// | D-7// G7// | C-7// F7// | | Bbmaj7//// | Gsus// G7b9// | C-7//// | E-7// A7// | | Bbmaj7// D7// | G-7// F-7// | Ebmaj7//// | A-11// D7// | | G-7//// | Absus// Ab7// | Bbmaj7///// | Gsus// G7// | | C-7//// | Fsus// F7// | Bbmaj7//// | turnaround sid | |
| smg -- 02/10/2004, 13:48:45 -- #895 | |
| Here's the changes from the VRB(Patt-see link above): Key of Bb Bb/Gm7/Cm7/F7 x2 Bb/Bb7/Eb/Am7b5 D7/1.Gm Gm w/maj7/Gm C7/F6/F7 2.Gm7/Gb7/Bb/Dm7b5 G7/Cm7/F7/Bb/Bb I re-formatted them to save space,basically you've got I/vi/ii/V x2 then I/I7/IV/VI7,this happens both times through the form;the first ending is vi/II7/V/V7,the second is vi/bVI7(tritone sub for V)/I/VI7/ii/V/I/I. This tune is a very good one for using to study/learn what's involved in "interesting alternate changes",being a structure made up of standard diatonic progressions that go back 500(?)yrs.in Western music.One thing that happens is that "secondary dominants" are used to set up "temporary key centers" within the "home key".(There's a thread dealing with this on the old site,access this from the "welcome" screen and use "search" when you get there,I think it was called"Secondary Dominants").In bar 10,the IV chord;bar 3 of the first ending,the V,and bar 5 of the second ending,the ii chord are all "resolved to" in dom/tonic patterns. Breaking the tune down like this allows you to see a "blueprint" of the underlying progressions that are connected to create the song as a whole.The next step,although for anyone seeing this type of thing for the first time possibly producing an emotional reaction similar to the experience of watching the worst part of the latest horror film,becomes very simple. Going over to links,there are some online sources of info for the possibilities for substitution available.In my honest opinion,the type of stuff represented is as complete and user-friendly as exists,you literally have the equivalent of the jazz dept.of any of the top schools represented(in terms of knowledge only....all the other aspects of interaction,support,etc that make involvement in these invaluable being approximated here in the forum at times)... As far as the Cm7-Cm7/Bb(note-use of slash marks different here than in listing of changes above;here I'm using them like pianogirl did to represent a bass line movement.In the RB,a lot of times you'll see this kind of thing,i.e. the next bar would be F/A creating a bass line of C-Bb-A,info re-this is also over there in links.... I would approach substitution on this or any similar type of structure by turning as much of it into dom7 as I could,also I'd take sections where progressions exist and use one dom7 in place of the progression.Then I would build substitutions off of the dom 7. I purposely used a very vague,hopefully intriguing descriptive style in the last paragraph above in the hope that those like pianogirl who are on their way into the world of understanding things will be led to the links section out of curiousity and try to see what the h-ll I'm talking about. | |
| smg -- 02/10/2004, 13:54:03 -- #897 | |
| Expanding on the voicings used to play the basic changes without getting into all the possibilities for substitution is another thing to get into,here you'd be using the same progressions referred to by the Roman numerals but the chord types would change(in the kind of substitution I'm referring to above,the actual progressions would change)..check out Julie's thread re-AL on this page for a little more about this... | |
| pianogirl -- 02/10/2004, 16:44:19 -- #903 | |
| Thanks for your response to my message. After I posted it I thought that it might sound like "do my work for me" which was not what I intended! :-) And your thoughtful response luckily for me took it in the spirit that I did intend. Off to the links...and Julie's re-AL thread.... | |
| Rich Browne -- 02/11/2004, 02:46:18 -- #913 | |
| yeh hi- cant actually play but jazz piano kicks asssssssssss! | |
| Rich Browne -- 02/11/2004, 02:47:06 -- #914 | |
| dont wanna look wierd and reply do my own message but yeh- it does | |
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