| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 1398.1 | Anybody Home??? | AQUA::ROST | It's the beat, the beat, the beat | Tue Aug 08 1989 22:10 | 4 |
|
Glad to see that everybody is pitching in on this one 8^) 8^)
8^)
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| 1398.2 | any good? | MARVIN::MACHIN | | Wed Aug 09 1989 06:48 | 8 |
| Well, just to keep you company, I'd have thought the 'off' notes,
Eb and F#, work because they're the sevenths you need for your
progression in C (Eb for F (as in playing c minor over F) and F# for
G).
Wack 'em in, I say.
Richard.
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| 1398.3 | Okay, I'll bite... | IOSG::CREASY | A bunny rabbit! I shall name him George!! | Wed Aug 09 1989 08:26 | 35 |
| Well, I didn't answer because I don't qualify as a theory guru, or any
of those other good things Brian described in .0 8^)
Anyway, if you analyse the chord progressions (which I'm sure you have
done) you see that they both resolve chromatically.
The F7-F#o-C progression is:
F7 F A C Eb
F#o F# A C Eb
C C E G
The chromatic movement comes from F - F# - G, which is the V of Cmaj,
and so provides a strong resolution. Writing a bass part for this,
you've got quite a lot of options:
emphasise the chromatic part and play F F# G
remain motionless while the chords change about you (play all Cs,
or A -> G or Eb -> E
play a descending line (eg A-F#-E, C-A-G)
Which sounds best will depend on how the other musicians are resolving
THEIR parts (ie whether the voicings they use go "up" or "down").
The other progression is more obviously chromatic. In fact, I think I'd
have substituted Ebmaj7 instead of Eb7, because then 2 of the notes
would move, and 2 stay the same. Because all the other musicians are
almost BOUND to play these as adjacent, descending note clusters, I'd
look for an ascending bass part. D-Db-F appears in the progression, and
you might like to play with D-Db-E, as E is the ninth of Dm - it might
work, or it might sound horrible!!
HTH (a bit)
Nick
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| 1398.4 | more thoughts ... | GOOROO::CLARK | roots, wings, and oat bran | Wed Aug 09 1989 10:55 | 21 |
| Well, I would view the F# dim as an F7-9 chord, and, like somebody
said, it progresses nicely to the C because of the F-F#-G.
The Eb7 is a tritonal substitute for the A7. Note that both chords
share the G and C# (Db) notes, with G being the dominant seventh
in the A7 chord and the 3rd in the Eb (and vice versa). These kinds
of substitions can really spice up a bland chord progression:
C-A7-D7-G can become
C-Eb7-D7-Db7 or C-Eb7-D7-G7 or C-A7-Ab7-G7
and you can start adding notes to the chords or changing thirds
to flat thirds:
C-Ebm7-Dm7-G7b9 or C-Eb13-D7+9-Db13
etc.
-Dave
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| 1398.5 | Sub-Five's, baby | MARKER::BUCKLEY | long way 2 the top if u wanna R&R! | Wed Aug 09 1989 12:13 | 10 |
| > C-A7-D7-G can become
> C-Eb7-D7-Db7 or C-Eb7-D7-G7 or C-A7-Ab7-G7
^^^ ^^^ ^^^ ^^^
Berklee calls these monster's "Sub-five's". A sub-V(7) is any V7 chord
which chromatically resolves to another dominant chord. In blues, you
can sub-five up the ying-yang and it still sounds great. I mean, its
almost hard to overdo sub-V resolutions, but it can be done...they
sound great, while not inhibiting the soloist harmonically!
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