i'm hoping this section will be used by more people,i didn't mean to turn it into an extension of "360"..please involve yourself in the dicussion going on here between myself and jim lindstrom that we started back when the old forum ended if you want,or post anything else re-composing-the thread we're dealing with is on the last page of the old forum if you want to check it out,called something like "the i-iv cadence,plagal harmony"

hey jim-here's a copy and paste of my suggested completion of that from the old forum-
here's what i would do-the three bars you've got there are pretty much right out of a standard blues groove in terms of the underlying progression-i.e.i7-i7-i7-i7/iv7-iv7-i7-i7/v7-iv7-i7-v7=12.what you're doing is expanding on the harmonies in the first two bars-1.i7-iv7 2.i7-iv7 (3+4) using again standard blues harmonic concepts.

what i'd do to complete the tune is this-use something like a bb7#9 in bar 4,in bar 5 go to eb7,in bars 6 + 7 use the same device of moving to a 7th a fourth away as you did in bars 1 + 2 structurally,i.e.eb7-ab7/eb7-ab7 then go to bb7 for bar 8,the viib7-i7 progression is hip in this context.(end)

i just went back over  there to see what i had been thinking re-using the bvii...this was one of some "learning-related" ways i gave you for movements from the iv in general;once i saw the sheet you posted i was thinking more along the lines of the above.i just figured i'd mention this in the context of something i'm dealing with right now re-having done what you're talking about(file it away for later) to the point where i have a lot of stuff that now i'm working on completing and setting  up a very organized way of doing this.

the questions you asked me i kind of answered in my first post in the third from the last paragraph.actually what i posted is part of a larger message i'd been posting on a bunch of songwriting sites at  the end of the summer,trying to get some feedback and help with my stuff(which i did get)....over the last few months i've developed my process somewhat and i'll get into that a little.
originally the stuff i composed in 2001-02 was an  outgrowth of spending a lot of time figuring out things i knew about as a saxplayer/improviser in their harmonic context.the more i saw how to connect the types of melodic stuff i'd been working on with the contexts they worked in harmonically,the more i started getting ideas for vamps/progressions and i decided to develop this,using the keyboard like i described above.so the tapes i have of last years' stuff are of these "extended vamps" connected sectionally and "parts of songs",all with a lot of "jazz lines" being played over them.
i decided to see about making this approach into something i could market since a lot of the stuff was right on the dividing line between r+b and modal-type stuff,along with another aspect of music i was into composing in,influenced by tunes like "naima"-extended chords over a pedal,and chords progressing based on the movement of the upper extensions.( a vague description of stuff i can get  more into if you and others want to,in the context of this section).
so i went back to a lot of the non-jazz listening i'd done and immersed myself in different influences,trying at the same time to keep an awareness of what is contemporary(i.e.while i dig 70's r+b and think it's some of the hippest stuff compositionally,many of the stylistic elements are dated in terms of my producing a marketable demo)by studying progressions/form/melody/rhythms used in the musical categories of the last 10 yrs.i thought my stuff would work in.
as a result,i have a mix of stuff i've composed since getting all this type of studying done based on what i'd been into last year along with new stuff i've composed off of either theory/harmony studies or influences from contemporary music(i.e.i needed to really immerse myself in standard diatonic/triadic progressions and all the things you can do with this,while i was into this i was also studying stuff currently being played on the radio/album cuts,etc.so i was able to concieve of things using this framework,and gradually understand the type of stuff i'd been hearing/composing last year in light of these studies,along with things from last year that i've reworked.
i'm going to stop here and i'll get into this some more later this week or something.but before i do i just want to mention one thing,it relates to what you were talking about re-developing your comp.it's called "welding"in this  interview i read with george harrison,talking about how the beatles composed.basically i'm in the process of organizing all the sections i have into specific categories, identified by whether they sound to me like they'd work as verse 1,verse 2,pre-chorus,chorus,bridge,vamp in standard song form.
(more to come)
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