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We had a great Deep Dive with Tim Lerch last Saturday.
Tim is such a nice guy, very knowledgeable too.
Here is a short clip where Tim talks about the tonic, subdominant and dominant families and more. Enjoy!!
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06-17-2024 10:32 AM
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Why is this video showing Tim playing left handed?I'm assuming it's some kind of YT bug.
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Is this video showing his right hand fingering the fretboard.I don't know about you but i call that left handed.Come on back at you.
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I first heard the min7b5, as used at the beginning of this vid, by Martin Taylor doing Don't Get Around Much Anymore in the 90s.
I didn't know about reharmonisation then and thought WTH is that? and why does that sound so good?
Works well at the start of Pennies from heaven.
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Zoom will do that unless you set it to “mirror”.
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You are talking about tritone sub of a dominant perhaps? But here it is a major chord.
A substitution always preserves the fundamental role of a chord, whether it's tritone substitution or other kind of substitution. Otherwise it's not a substitution. Tritone of a dominant is a dominant (a more edgy one). Tritone of a major chord is a major chord (again a more edgy one), but that doesn't mean it functions as a dominant and needs to resolve.
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Bars 7 and 8 of Martin Taylors chord melody of Don't Get Around.... in Dmajor.
On the word 'more' :
| Abm7b5/Gm7/ | D(f# in bass) /// |
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Tim gives the example of Just Friends going to Bbm7 - Eb7. He doesn't agree with any analysis of this as ii-V in Ab. His reason is that in terms of Ted Greene's 'expanded scale' idea, those two chords can be considered as the iv and the bVI7 of F. I can't really disagree with that especially when he qualifies it by contextualising it in terms of arranging.
But from the point of view of improvising over that tune, it doesn't seem as helpful as treating Bbm7 - Eb7 as a ii-V of Ab especially when we consider that Ab is a minor third above F which to my ears, is usually a good thing.
Am I missing something important from Tim's analysis?
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I don't know if he is. He seems quite animated about it. I agree no one would say that its ii V to Ab, for the simple reason it doesn't go to Ab. But treating it as if it was a ii V while improvising seems as valid as treating it as the backdoor progression, even if you're not a sax player
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The harmonic motion in Just Friends, the A section, I just see as being chromatically decending minor tonalities.
The written chords: BbM7 | Bbm7 Eb7 | FM7 | Abm7 Db7 |
can be thought of as: Gm/Bb | Bbm | Am/F | Abm
Instead of trying to figure out how Abm -> Db7 relates to the key of F. It's just part of the descending motion. It's all headed back down to Gminor (the first chord of the B section)
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Lydian tonic.
In G major
C# (#11), B (3), E (13), G (root).
If it sounds as a tonic or not depends on the context and chord position, voice-leading etc.
It contains only 4 notes - two of them belong to the root triad of G
And E-G-B makes an E minor triad which is very close relative to tonic in jazz context.
C# - E makes a C# minor triad, which is quite out of G.
The question is if you can make it sound tonic putting proper notes in proper context.
Another important point: to me jazz harmonic context is quite open originally due to the nature of the genre and later modal expansions made it almost totally free... you can sub practically anything for anything and often it is just the matter of conviction and confidence.
For some (and especially for the player) omitted bass root is still implied in inner hearing, for others there is not enough context to hear it... there will always be someone who says: I do not hear it like that...
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The tricky thing is that G is not tonic here. The whole tune is more like a bluesy modal harmony though it involves typical function ii - Vs (I think it is quite common for many modal tunes of the period (Along Comes Betty, Falling Grace have also lots of functional ii-v's but in the context it is a modal harmony, these ii-v's are more like separate 'harmonic shells' there)
In the first case C#m7b5 to F# sounds like a typical minor ii-V (to B minor - though it skips resolution it still sounds very typically).
Though partly it really works a bit as a sub for G because this is a repeat of the phrase and that turnaround shows up in place of G chord.
But it is also very typical for functional harmony as modulation.
In C major it could be like I - I - IV - IV// I - I - vii7b5 (ii in a minor) - III7 (V in a minor) => a minor
Also natural major VI chord followed by ii - V7 is very typical for European traditional/urban/romance tunes in minor keys as a half cadence turnaround
In a minor: F - B7b5 - E7...
In the 2nd case it looks interesting. I check the records and I do not hear it distinctively
To me this G sounds more like an approach to F#7 (which works as kind of 'fake' V chord here)
So basically the same turnaround in minor only ii is skipped.
But G here really sounds more like a bass added to C#m7b5
The whole tune is a mix of blues/minor blues/chanson vibe in more modal layout
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