ElmerJFudd Posted July 2 Share Posted July 2 In the Real Book vol3 4 bars into the B section it’s suggesting Ab7#9 What recording is this gleaned from and any ideas on how to make it sound good? It’s a very biting tension note (to me). I’ve tried sticking it inside and having it release to the 7 of that D7b9 and throwing it up top as part of a fill. But, I don’t love it, so I’m ditching it - I don’t hear it on Ella’s record, nor her live video with Joe Pass and those are favorites. C7 is boring, C9 sounds better than #9 (to me). Anyway, just throwing it out there for opinions. Thanks! Quote Yamaha CP88, Casio PX-560 Link to comment Share on other sites More sharing options...
miden Posted July 2 Share Posted July 2 could try subbing in a Cm7?? Seems to resolve nicely to the D7b9... 1 Quote There is no luck - luck is simply the confluence of circumstance and co-incidence... Time is the final arbiter for all things Link to comment Share on other sites More sharing options...
jerrythek Posted July 3 Share Posted July 3 I'd use a natural 9th or a b9th myself. I could pass through the #9 on a chromatic descending figure starting on the C. But no, I would not play it as the main chord voicing. 1 Quote Link to comment Share on other sites More sharing options...
ElmerJFudd Posted July 3 Author Share Posted July 3 6 minutes ago, jerrythek said: I'd use a natural 9th or a b9th myself. I could pass through the #9 on a chromatic descending figure starting on the C. But no, I would not play it as the main chord voicing. I agree. #9 in this context is not a great sound and prefer to just voice a Ab9. Quote Yamaha CP88, Casio PX-560 Link to comment Share on other sites More sharing options...
linwood Posted July 3 Share Posted July 3 I'd probably go with something like... 1 Quote Link to comment Share on other sites More sharing options...
Floyd Tatum Posted July 3 Share Posted July 3 I usually play an Eb7 (possibly with a #11) at that point, rather than an Ab7. That is, a split bar, Eb7 to D7. (Or Am7b5 to D7, which functions the same way). 1 Quote Link to comment Share on other sites More sharing options...
AROIOS Posted July 3 Share Posted July 3 5 hours ago, ElmerJFudd said: ...4 bars into the B section it’s suggesting Ab7#9 What recording is this gleaned from and any ideas on how to make it sound good? The "♭" in that A♭7#9 looks (and sounds) like a typo. Either Am7♭5 or A7#9 would work fine here. 3 Quote Link to comment Share on other sites More sharing options...
miden Posted July 3 Share Posted July 3 it's a pretty simple transition, keep it simple...sometimes too much is too much Quote There is no luck - luck is simply the confluence of circumstance and co-incidence... Time is the final arbiter for all things Link to comment Share on other sites More sharing options...
Dave Ferris Posted July 3 Share Posted July 3 The legendary Jimmy Rowles showed me this movement in 1982. I've been playing it that way ever since. In bar 3 of the bridge, beat 3, the Em7b5 the chord preceding the chord in question, try a E7 #9#5 - voiced LH: E G# RH: D G C natural. To the chord in question, bar 4 beat 1, then try an A7 #5#9 voiced LH: A G RH: C# F C natural Jimmy played Am7b5 in bars 2 & 6, where it's often shown in fake books as the Eb7 (#11). I always considered him to be just about as close as you can get to the source with regard to Ballads in the Great American Songbook. 3 Quote https://soundcloud.com/dave-ferris https://www.youtube.com/@daveferris2709 2005 NY Steinway D Yamaha AvantGrand N3X, CP88, P515 Link to comment Share on other sites More sharing options...
jerrythek Posted July 3 Share Posted July 3 6 hours ago, Dave Ferris said: The legendary Jimmy Rowles showed me this movement in 1982. I've been playing it that way ever since. In bar 3 of the bridge, beat 3, the Em7b5 the chord preceding the chord in question, try a E7 #9#5 - voiced LH: E G# RH: D G C natural. To the chord in question, bar 4 beat 1, then try an A7 #5#9 voiced LH: A G RH: C# F C natural Jimmy played Am7b5 in bars 2 & 6, where it's often shown in fake books as the Eb7 (#11). I always considered him to be just about as close as you can get to the source with regard to Ballads in the Great American Songbook. Hard to argue with that source! Personally, I like not repeating harmonic treatments so closely together, so I would replace one of those Am7b5 just for variety. So the Eb7#11 is a nice variation. But then again, any good pianist worth their cred would likely be making small variations/substitutions throughout a performance to keep things interesting. So no set of changes should be cast in cement, so to speak. Jerry Quote Link to comment Share on other sites More sharing options...
Floyd Tatum Posted July 4 Share Posted July 4 I'm starting to like the idea of playing Ab7 in bar 4 of the bridge. Possibly with a D7 in the 2nd half of the bar. Just a straight Ab7, no #9. But the Ab7 provides a nice contrast to all the Eb7's. 1 Quote Link to comment Share on other sites More sharing options...
AROIOS Posted July 4 Share Posted July 4 2 hours ago, Floyd Tatum said: I'm starting to like the idea of playing Ab7 in bar 4 of the bridge. Possibly with a D7 in the 2nd half of the bar. Just a straight Ab7, no #9. But the Ab7 provides a nice contrast to all the Eb7's. Yup, A♭7 and D7♭9 share 3 common notes (C, E♭, G♭). You can also play A♭9 to throw in a bit of voice leading (B♭ in A♭9 -> A in D7♭9). A♭7 to D7 as you mentioned works too with 2 shared notes (C, G♭) and voice leading from E♭ to D. More interestingly, A♭7(A♭9) opens door to all the juicy chords from E♭ melodic minor scale: E♭m6, F7sus4♭9, G♭6#11. B♭9sus♭13. Cm7♭5 are all excellent substitutes in this context. Quote Link to comment Share on other sites More sharing options...
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