Thank you, comments like this encourage us to continue and I hope these videos will in a small way encourage you to continue to discover the joys of making music.
I think in the original version (key of Eb) the opening progression should be B^7 B7 Eb^7. I usually think of that B^7 as a lydian chord (IV of Gb major which will pop up again in the B section). Check Joe Henderson's version (in the key of D), they use this kind of progression.
Therefore, the half diminished chord could be also seen as the VII degree of the same Gb tonality. Or as an inversion of Abm6 (II of, again, Gb). It sound more interesting to me and it actually make more sense as the tune keep moving between this two tonality: Eb and Gb.
@@IgorLegari yes the original is in Eb, and yes, you're right, the first chord would be a bVImaj7. So bVImaj7 to V7alt to Imaj7. But simpler (in C since that's the "realbook version") the Dm7b5 turns the bVI-V-I into a ii-V-I for "jazz purposes". But playing over it can be handled (like Llyod describes) as C Minor and C Major, not forgetting the V7 is a V7alt chord. So, C Min-G7alt-C Maj. And you are correct, Joe Henderson's version is in D and if memory serves me right, he handles all those minor chords in the turnaround as their relative-type chords, like Abm7b5=Bm7, Gm7=Bbmaj7, F#m7=Amaj7, Fdim7=Gbdim7 (enharmonically), Em7=Gmaj7, A7alt=Eb7alt (or other superimposed chord), Dmaj7. One of my favorite tunes. For a super cool twist, check out Duke Ellington's version, he plays the bVImaj7 as a bVI7. It gives it that signature Duke sound...style. He's in Eb so, B7-Bb7alt-Ebmaj7.
Wow Mike, I'm really sorry I completely missed this fabulous comment, good for you for digging into analysis like this, it will serve you well when making music. Thanks!
Yes, I think you're right. I think the videos should be shorter as well. Teaching on YT is a bit of a trick because of attention spans and video durations. I am considering booking studio time and just recording a pile of standards with an upright player and then referencing them. Thanks for your comment.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Thank you for that wonderful explanation of this great tune. Very very helpful!
Great to hear that you have found value in my teaching.
Good job!! I understood all of it... It was very useful for me
Brilliant, that's a great compliment, thank you.
Very interesting and well made video. Keep it on!
Thank you, comments like this encourage us to continue and I hope these videos will in a small way encourage you to continue to discover the joys of making music.
amazing song
Hope you got something out of the analysis. best,
I think in the original version (key of Eb) the opening progression should be B^7 B7 Eb^7. I usually think of that B^7 as a lydian chord (IV of Gb major which will pop up again in the B section). Check Joe Henderson's version (in the key of D), they use this kind of progression.
Therefore, the half diminished chord could be also seen as the VII degree of the same Gb tonality. Or as an inversion of Abm6 (II of, again, Gb). It sound more interesting to me and it actually make more sense as the tune keep moving between this two tonality: Eb and Gb.
@@IgorLegari yes the original is in Eb, and yes, you're right, the first chord would be a bVImaj7. So bVImaj7 to V7alt to Imaj7. But simpler (in C since that's the "realbook version") the Dm7b5 turns the bVI-V-I into a ii-V-I for "jazz purposes". But playing over it can be handled (like Llyod describes) as C Minor and C Major, not forgetting the V7 is a V7alt chord. So, C Min-G7alt-C Maj. And you are correct, Joe Henderson's version is in D and if memory serves me right, he handles all those minor chords in the turnaround as their relative-type chords, like Abm7b5=Bm7, Gm7=Bbmaj7, F#m7=Amaj7, Fdim7=Gbdim7 (enharmonically), Em7=Gmaj7, A7alt=Eb7alt (or other superimposed chord), Dmaj7. One of my favorite tunes.
For a super cool twist, check out Duke Ellington's version, he plays the bVImaj7 as a bVI7. It gives it that signature Duke sound...style. He's in Eb so, B7-Bb7alt-Ebmaj7.
Wow Mike, I'm really sorry I completely missed this fabulous comment, good for you for digging into analysis like this, it will serve you well when making music. Thanks!
You should play the song, first, then analyzing after. It makes it more engaging.
Yes, I think you're right. I think the videos should be shorter as well. Teaching on YT is a bit of a trick because of attention spans and video durations. I am considering booking studio time and just recording a pile of standards with an upright player and then referencing them. Thanks for your comment.