jerrythek Posted November 6, 2013 Share Posted November 6, 2013 Regarding the F7/G chord in bar 16 (counting from the A section), I just put DD into an editing program and looped that bar so I could really listen to it, and now I am certain that the voicing, from the bottom up (not including the G ped) is: Eb G B D F (the F at the top being the melody note). You could call that an F7/G, although it's probably more accurate to call it an F13(#11)/G. If you call it that, then just about every good pianist can figure out what voicing you're talking about. If you call it F7/G, most guys are going to think the RH voicing is an F7 chord, i.e., F A C Eb, which it's not in this case. That is, unless they know the tune anyway, and know already what to play. Yes, the chord/scale appears to be the 5th mode of C melodic minor. I agree, as I wrote earlier. That is the voicing Herbie plays. For the first time that phrase happens, during the head. Calling it F7/G would never lead me to play that voicing, hence all these other fake book permutations. For soloing you need to think of the mode/scale you want to use and create voicing from that. Sometimes it's not just about a simple triad or 7th chord. And just to stir the pot, there are times that only a poly chord spelling will help to define the intended harmony. Thinking of Randy Brecker's writing for the Brecker Bros band, amongst others. It is much clear to write B/A for example, than to try to define that as an A chord of any sort. Or even Eb/A will lead you to play the right voicing better than calling it an A7b5b9. Just sayin... The more the tune moves away from "inside", functional harmony the harder it gets (sometimes)to force the notation into a pretty little box. Jerry Link to comment Share on other sites More sharing options...
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