| LearnJazzPiano.com archives: Slightly nerdy question ! | |
| Brotherdavies -- 11/12/2004, 02:14:43 -- #8871 | |
| Please can someone explain these changes for me: | Cm | Cm maj7 | Cm7 |Cm6 D7 | Cm occurs in all 4 bars - but what is the significance of the maj7, flat 7 and the 6th? Or is the whole progression really just Cm7? I am learning standards at the moment and I am trying to understand the harmony behind the songs. ii/V/I and ii/V/i seems to explain 90% of the changes from the American song book but I would like someone to shed some light on the above progression. These chords are used in the first bars of Blue Skies, How Deep is the Ocean, My Funny Valentine: according to the Ralph Patt lead sheets. Many thanks Bro'Davies | |
| signal11 -- 11/12/2004, 04:13:15 -- #8874 | |
| One way to think about it is that you're just playing Cm, but moving the 7th around. So, play your favorite Cm7 voicing. Move the 7th up a half step in bar 2. Down a half step in bar 3. Down a half step in bar 4. It's kind of an interesting effect that's used in many tunes. Not sure if there's anything more significant to it than that (although I'd be interested if there is ;-). | |
| sid -- 11/12/2004, 04:29:10 -- #8875 | |
| Sometimes the sequence you describe can be interpreted like this: First chord - Cmi Second chord - first inversion of G (i.e., with B in the root) Third chord - second inversion of Eb (with Bb in the root) Fourth chord - A mi7 b5 which resolves nicely onto Last chord - D7 A common variation of the descending 7 pattern Bro describes is the ascending 5: Cmi | 1st inversion of Ab (with C in root) | Cmi6 | Cmi7 | Basically, these are all ways of breaking up the monotony of comping the same minor chord for several bars in a row. They can also be run through quickly during the II part of II-V-I - a characteristic Bird trick. sid | |
| Brotherdavies -- 11/12/2004, 05:25:02 -- #8876 | |
| Thanks guys. Sid, I can really use that advice - I like these little tricks where a short sequence of chords can be used in place of a single maj7 or min7 chord. Bro' | |
| Barry -- 11/12/2004, 06:00:45 -- #8877 | |
| It is basically just C minor throughout, but these chords imply a very strong descending chromatic line - C, B, Bb, A as one of the voices in the chords. This can give you the opportunity In terms of soloing, you can play C dorian over it all except on the Cm maj7 chord when it's nice to highlight the B natural in your line - effectively making the scale choice C natural minor. By selecting the 'different' note in each chord, you can outline the harmony very strongly. | |
| Barry -- 11/12/2004, 06:01:41 -- #8878 | |
| Sorry, the second sentence should read; This can give you the opportunity to employ some strong voice leading in your 'comping. | |
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