Dave Horne Posted September 3, 2005 Share Posted September 3, 2005 My wife and I heard a first rate quartet last night. The piano player is an acquaintance of mine - he's a Teddy Wilson clone and is very well known in this area. (The younger members here can google that name.) At any rate they played Someone To Watch Over Me and the changes were pretty much what I play except for the bridge. I tried to figure it as they were playing, but no dice. The changes they used were basic, nothing outlandish, maybe one chord change per measure, but different than the stock changes. Anyone care to add your set of changes here for the bridge ... and possibly suggest what they might have played? What I play (simplified) is: [Ab ...] [Ab ...] [A dim 7 ...] [Eb/Bb . Eb .] [Aø7 . D7 .] [G7 ...] [C7 . F7 .] [Fm7 . Bb7 .] No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
DaveMcM Posted September 3, 2005 Share Posted September 3, 2005 Hi Dave, Check you e-mail. P.S. I didn't notice that you were actually asking for alternate changes. What I sent you are the standard changes, sorry. Wm. David McMahan I Play, Therefore I Am Link to comment Share on other sites More sharing options...
linwood Posted September 3, 2005 Share Posted September 3, 2005 Didn't jarrett do this on "the melody at night w/you"? Maybe that's on itunes. Not quite the same bag as teddy wilson, but there might be something to steal there. Link to comment Share on other sites More sharing options...
Eighty-Eight Posted September 3, 2005 Share Posted September 3, 2005 Dave, I have no idea what changes they could have used but Ive been using these: [Ab . . . ] [Adim7 ... ] [Cmi7/Bb . . Bdim7] [Cmi7 . Cmi7/Bb . ] [Ami7(b5). D7(b9). ] [. G9sus. G7(#9) ] [Gm7. C9sus.] [F9(13). Bb9sus. ] Sorry for the strange harmonic rhythm in bar 6 of the bridge. Link to comment Share on other sites More sharing options...
stoo schultz Posted September 3, 2005 Share Posted September 3, 2005 I like to play pretty much what Dave plays, except instead of that Ab in the first measure I like to snag the D in the melody some way, like playing a [Dm7b5/Ab...], or [Abdim7 Ab6 Abdim7 Ab6]. For the third measure sometimes I play [Abm6 .. Ab dim 7], and for the fourth I like to hit a Cm7 in there, [Eb/Bb . Cm7 .]. he's a Teddy Wilson clone and is very well known in this area. (The younger members here can google that name.) Link to comment Share on other sites More sharing options...
kanker. Posted September 3, 2005 Share Posted September 3, 2005 Originally posted by Dave Horne: [Ab ...] [Ab ...] [A dim 7 ...] [Eb/Bb . Eb .] [Aø7 . D7 .] [G7 ...] [C7 . F7 .] [Fm7 . Bb7 .] The Real Book 2 has the 2nd half of the bridge as (transposed to your key) - | A-7b5 | D7 | Gm7 C7 | Fm7 Bb7 | Not too different really. A ROMpler is just a polyphonic turntable. Link to comment Share on other sites More sharing options...
Dave Horne Posted September 3, 2005 Author Share Posted September 3, 2005 Originally posted by stoo schultz: I like to play pretty much what Dave plays, except instead of that Ab in the first measure I like to snag the D in the melody some way, like playing a [Dm7b5/Ab...], or [Abdim7 Ab6 Abdim7 Ab6]. For the third measure sometimes I play [Abm6 .. Ab dim 7], and for the fourth I like to hit a Cm7 in there, [Eb/Bb . Cm7 .]. he's a Teddy Wilson clone and is very well known in this area. (The younger members here can google that name.) About a year ago I had a kid from the local music university for a lesson and I demonstrated block chords and acknowledged George Shearing as being the player who exemplified that style of playing. George who, he asks. I assume nothing. Players today have no sense of history. I'm actually more disappointed in the quality of that university than that kid; it wasn't his fault, per se, it was the university's. Teddy who? No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
linwood Posted September 3, 2005 Share Posted September 3, 2005 When i first came to Vegas in '78, I started a 12 year run playing at Caesars. I was young and cocky. Thought I was pretty good to have been offered such a good gig playing there. Then the first week there, I went into one of the other rooms to see what was going on. There was a duo playing . It was George Shearing and Mel Torme. nuff said...I knew immediately that I suck. I went to another hotel to check it out and Jimmie Smith and Grady Tate were in the lounge. Man, I wish it was still like that around here. Now, it's a chick in a shiny dress singing the theme from Ice Castles..... Link to comment Share on other sites More sharing options...
David Loving Posted September 3, 2005 Share Posted September 3, 2005 Jeez, you have mucho stones to recover from that little tour of the other rooms! "Forget it, Jake. It's Chinatown." Link to comment Share on other sites More sharing options...
Dave Horne Posted September 4, 2005 Author Share Posted September 4, 2005 Now, it's a chick in a shiny dress singing the theme from Ice Castles..... uugh You know, you never hear a jazz tribute album of Marvin Hamlisch's music. Why is that? No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
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