Here is a chorus on Body & Soul:
http://dl.dropbox.com/u/21681022/bodyandsoul.mp3
Here is the real book:
http://www.saxuet.qc.ca/TheSaxyPage/Rea ... 20Soul.jpg
My question:
4th measure, on Fm7. The pianist plays "c# e c# c#", and it sounds good. How would you explain this sounding good (and why bluesy)?
Why does this work? (non chord tone)
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- KVRist
- 427 posts since 24 Sep, 2009
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
the first thing I hear the pianist do is harmonic minor, phrase ending E Db C.
it isn't 'outside' there really; the key of F minor includes Db and E (You don't want to call that Db "C#" btw. Scales are spelled straight alphabetically, eg: F G Ab Bb C Db E. IE: w. seven note names within an octave we won't repeat a letter.).
- the rhythm is pretty angular; so after four tries or so I found the spot you mention. I don't have a detailed analysis but you have F harmonic minor amidst other choices, so it's perhaps striking and piquant ("bluesy"?) in a way natural minor for example won't be... but that's not outside the harmonic notion of 'F minor' in any way. Why do you believe it wouldn't 'sound good'? melody quite often involves things that are not chord tones. Maybe you find that Db against C bluesy. It's 'minor-y'.
as per the 'theoretical' conflict, E v. the nominative Eb in 'Fm7' the pianist doesn't give a shit about that evidently.
it isn't 'outside' there really; the key of F minor includes Db and E (You don't want to call that Db "C#" btw. Scales are spelled straight alphabetically, eg: F G Ab Bb C Db E. IE: w. seven note names within an octave we won't repeat a letter.).
- the rhythm is pretty angular; so after four tries or so I found the spot you mention. I don't have a detailed analysis but you have F harmonic minor amidst other choices, so it's perhaps striking and piquant ("bluesy"?) in a way natural minor for example won't be... but that's not outside the harmonic notion of 'F minor' in any way. Why do you believe it wouldn't 'sound good'? melody quite often involves things that are not chord tones. Maybe you find that Db against C bluesy. It's 'minor-y'.
as per the 'theoretical' conflict, E v. the nominative Eb in 'Fm7' the pianist doesn't give a shit about that evidently.
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- KVRist
- Topic Starter
- 427 posts since 24 Sep, 2009
Cool. Thanks. 
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
to be precise: 'harmonically', the reason for the row known as 'harmonic minor' - particularly b6 to ^7, eg., the Db then E - is that the 'dominant' chord for minor as well as major uses a major triad. in jazz, the ^7 on the i chord is often done in minor, play around with that, a 'poignant' sound color.
Db->E, the augmented second lends a kind of Arabic feel typically. So, a gesture using these two tones on 'i' brings a lot of color in, in more than one way of thinking. iv and V are referred to within i so movement and tension are brought with economy via a quick choice... just a matter of making it work in the line.
Db->E, the augmented second lends a kind of Arabic feel typically. So, a gesture using these two tones on 'i' brings a lot of color in, in more than one way of thinking. iv and V are referred to within i so movement and tension are brought with economy via a quick choice... just a matter of making it work in the line.
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- KVRist
- Topic Starter
- 427 posts since 24 Sep, 2009
I'm familiar with hearing ImM7 but the fact that there's nothing else but just 6b 7maj (no resolution, no arpeggio..) made it sound so fresh to me lol
but then I'm still regularly surprised by simple triads lol
but then I'm still regularly surprised by simple triads lol
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- KVRAF
- 26033 posts since 20 Oct, 2007 from gonesville
right, sometimes simple devices jump out at you. my 'theory' is iv and V are touched on during i and the presence of such lends momentum, particularly as timed there.