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SongTrellis |
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Ah! Dialogue! <g> (1) OK, you didn't have to change all the Fmaj7's to 6ths because the ones in bars 3 & 5 don't have the long "do" melody as in bar 1. However, I would change the one bar 7 to F6, again because of the "do" melody. (2) I actually don't like the C7#9b13 for a couple of reasons: I would just use the #5 as I see no reason to include the normal (perfect) 5th. I've *hardly ever* seen b13 used on a chart (and to me, it seems especially strange to see those 2 notes voiced right next to each other, as well as seeing the E and Eb (3rd and #9) on the same line! Why not change the Eb to D#? Anyway, I use C7b9 there), and I doubt if many players who are reading a chart would grab a complete b13th chord very easily - maybe none! (3) In bar 5 I like to replace the Dm7 with F#dim. (4) In bar 7 (again) one needs to pay attention to the melody. If the singer is holding the "do" melody, a clash enters with the "do#" in D7, even though you do have the #9 to include "do". That works, but depending on the style and/or voicing, it kind of forces it; I would just use Dm7. I've encountered many guys who can play their instruments but who have not learned how to best accompany singers. (5) In the bridge, there are 3 spots where I add a b9 to your basic dom 7, as well as a couple of other things that add little movement, e.g. Fmaj7 - F6 and Am7 - Am6 (or D9). (6) I like this on the 3rd verse (it's sometimes nice to add something special on the last verse): bars 26-27, Bm7b5 - Bb9 | Am7 - Ab9 | ; dig the bass line. (7) I would not use the F#dim on this verse as I suggested in the the 1st 2, as there is a "do" melody this time. (8) I like Gb7#9 instead of C7 in bar 31. blog comments powered by Disqus
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Last update: Wednesday, January 2, 2008 at 6:42 PM. |
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