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#1011370 - 05/21/08 02:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Barb,
that was great the way you played that. Really enjoyed it.

Jazzwee, where can I find the blog?
thanks!

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#1011371 - 05/21/08 03:07 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Thank you, Knotty.

Jazzwee's 2 posts above are his blogging posts. We have used the term "blog" here when we talk about things that are not directly related to the AL jazz lessons in the thread. wink


A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com
#1011372 - 05/21/08 04:57 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Barb, that was fantastic! Really nice job!

Congrats to you too jazzwee, sounds like you're making great progress too. Dolphin Dance is a huge challenge and it sounds like you've got it licked.

#1011373 - 05/21/08 05:34 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Deeluk, I know you. We leave you alone and your next iteration will leave us in shock and awe thumb

I know that just because we've all been quiet on this thread doesn't mean we've stopped...


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#1011374 - 05/21/08 05:37 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by knotty:

Jazzwee, where can I find the blog?
thanks! [/QB]
Hey Knotty, you're the same Knotty from the LJP forum right? Nice of you to hang out here. I haven't posted at LJP for awhile but I'm always reading it.


Pianoclues.com for Beginners
My Jazz Blog
Hamburg Steinway O, Nord Electro 4 HP

#1011375 - 05/21/08 06:33 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by jazzwee:
Deeluk, I know you. We leave you alone and your next iteration will leave us in shock and awe thumb

I know that just because we've all been quiet on this thread doesn't mean we've stopped...
Well, I haven't completely stopped, but my practice sessions have become really sporadic. Thanks so much for the compliment. Hopefully, I'll be able to live up to it someday. I'm really pushing hard to finish up our basement. Inlaws are coming, so I have some hard deadlines fast approaching. Plus, who wants to be in the basement working during the summer?

#1011376 - 05/21/08 06:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Yes chief, that's me. You can recognize me by my picture wink

So do you have a place where you keep some of your recordings? Sorry, I'm a bit lazy to go through all 51 pages smile Very successful thread!

#1011377 - 05/21/08 07:58 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Hi Knotty,

Your picture is microsopic...not enough pixels to recognize...

My few recordings are indexed on Page 1, but as far as everyone else's recordings, you will in fact have to go through 51 pages. What's interesting though when you listen to recordings, you will see how quickly each person has improved.

BTW I've been watching your Youtube videos for a long time, since your early posts. Your teacher has an interesting approach in making you play etudes. Early on I did etudes, mostly of solos too but yours seem extensively notated. It seems like even the voicings are part of the etude. Is my interpretation correct?


Pianoclues.com for Beginners
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#1011378 - 05/21/08 08:02 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by deeluk:
Quote
Originally posted by jazzwee:
[b] Deeluk, I know you. We leave you alone and your next iteration will leave us in shock and awe thumb

I know that just because we've all been quiet on this thread doesn't mean we've stopped...
Well, I haven't completely stopped, but my practice sessions have become really sporadic. Thanks so much for the compliment. Hopefully, I'll be able to live up to it someday. I'm really pushing hard to finish up our basement. Inlaws are coming, so I have some hard deadlines fast approaching. Plus, who wants to be in the basement working during the summer? [/b]
Deeluk, don't feel too bad. I too have slowed down. I used to practice 3 hours daily, no fail. Now I have to clamp it at an hour, if I'm to get sleep. No time for recordings or anything. I just focus on my assignment and that's it. Hopefully it will clear up soon for both of us.

Only Barb is still at full speed...right Barb?


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#1011379 - 05/21/08 08:45 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Deeluk - thank you. Good to see you here. Glad your basement is almost finished.

Knotty - I just watched your Autumn Leaves youtube video -- WOW thumb

Jazzwee - yup, I'm still at it. I've also been doing a lot of reading from the fakebook. Things are starting to get easier in the sight reading department.


A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com
#1011380 - 05/21/08 09:20 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Thanks Barb!

Jazzwee, the whole teacher thing is an on and off thing for me. I'm very independent by nature ...

I just can't get away from these etudes. I love them that much. I've tried to stop. I can't.

I took a few lessons with a renown pianist. He asked me how long I was planning on playing these. I said, until I get bored (like eveything else I do in life). He said: "you won't"

The etudes are a combination of creating solos, comping and applying various styles that work well with a bass. They are challenging both rhythmically and technically. You'll see all you read in a book such as the Levine or Galper's, applied.

I call them my classical music.

I recommend them (in case it's not obvious smile

#1011381 - 05/21/08 11:12 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Knotty, are those etudes from a book? Are they completely in sheet music format? (no Fakebook?)


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#1011382 - 05/21/08 11:21 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by jazzwee:

My few recordings are indexed on Page 1, but as far as everyone else's recordings, you will in fact have to go through 51 pages. What's interesting though when you listen to recordings, you will see how quickly each person has improved.
This is a good point and I think it would be relatively simple for us to address. We could each create a post that contains links to all the recordings we have posted. Then, maybe create a link from the main index to each participant's "recording" thread. Each individual could then update their recording thread whenever they have a new recording.

I don't know how easy this would be for everyone else. But for me, it would be really trivial. I have a folder on box.net of all my AL recordings. I could quickly cut and paste all the links into a post.

Hmmmm, I suppose there is the problem of the original context...

What do you all think?

#1011383 - 05/21/08 11:30 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Sounds good to me. This is really helpful to others. But deeluk, it may be better to link to the original thread rather than just the recording because the discussion about each recording really shows the reader what to pay attention to.


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#1011384 - 05/22/08 09:26 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Jazzwee - A recording index to our thread posts sounds like a winner. I wouldn't mind going through all the pages to find my threads and links. I wish now I hadn't posted so much, though. laugh

Knotty - Good golly - I've been snooping through all your youtube etudes. They are truly super. My heart started pounding just watching you play. I understand your addiction. I really don't need another addiction, but I'm sold on your playing. smokin

Are all your posted etudes from this book? http://www.jimsnidero.com/books/piano.htm


A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com
#1011385 - 05/22/08 09:43 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by jazzwee:
Sounds good to me. This is really helpful to others. But deeluk, it may be better to link to the original thread rather than just the recording because the discussion about each recording really shows the reader what to pay attention to.
Yeah, that's what I was getting at with context. I started thinking that just raw links to recordings wouldn't be very useful. I wouldn't mind going through and finding all of my posts. OK, we have two willing participants. I think that's a quorum. wink

#1011386 - 05/22/08 10:49 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by Swingin' Barb:

Knotty - Good golly - I've been snooping through all your youtube etudes. They are truly super. My heart started pounding just watching you play. I understand your addiction. I really don't need another addiction, but I'm sold on your playing. smokin

Are all your posted etudes from this book? http://www.jimsnidero.com/books/piano.htm [/QB]
Barb,
I really appreciate your kind words. I love youtube. I frequently go back to it and see how I played a piece. I'm am amazed how bad I think I sounded a year ago, and thrilled with anticipation at how amazed I'll be one year from now. smile

Yes, this is the etude book. You answered jazzwee's question before I could. I link it from youtube and encourage people to get it. I've been told it's often used in universities.
I compare these etudes to chocolate for my ears. I often stop and play a couple of chords over and over again just to get each tone in.

#1011387 - 05/22/08 11:06 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Quote
Originally posted by knotty:
I compare these etudes to chocolate for my ears.
Knotty - that's right. It's nothing less than a 2 pound box of Lady Godiva chocolates.

The book looks great. Jim Snidero was at the Aebersold workshop I attended last summer. The book was also given a thumbs up by Jamey himself, and by pianist Dan Haerle who was also at the workshop.

Hey - keep posting here. I love your tips 3hearts


A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com
#1011388 - 05/22/08 01:43 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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http://www.youtube.com/watch?v=Lh7mMYx3Eis&feature=related

I don't think I've posted this before. This gives tips on how to develop a (Guitar) solo on AL. Although it's for guitar, the same rules apply.

It starts off with varying the melody, varying with hints of a melody, all the way to full free improv.


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#1011389 - 05/23/08 08:20 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Jazzwee, Great site!! I really like the way the melody "is layered" progressively. Thanks.


[Linked Image]
#1011390 - 05/23/08 06:29 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Woody, that style of "layering" is most noticeable in Brad Mehldau's playing. Then on the last chorus he slows it down.

I asked my teacher about this once if there was some rule to stylizing a solo in this manner and he said, no. You could start hot and slow down as well. It's basically up to you. Some players don't even stick close the melody at all (like Coltrane).

But as a traditional way to tell a story, I think this is the typical buildup that seems to be a nice approach and if it works for Mehldau, I'm sure it can work for most of us... laugh


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#1011391 - 05/31/08 07:11 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Lesson 15 - Reharmonization 101 - Advanced

Reharmonization is a pretty complex topic and I myself cannot explain advanced areas of this. However, a basic understanding of reharmonization from the point of view of "Chord Substitution" is critical as it is done quite often in Jazz, particularly in both solo piano and combo playing.

The area we are going to discuss are chord substitutions where one is not playing away from the standard changes and thus this can be done even without pre-arrangement with the bass player.

Review of Dominant Rootless Voicings

As a starting point to the discussion to follow, we need to make sure that we all remember how to do a Dominant 7 unaltered rootless voicing. In jazz, as a starting point, one can automatically voice a chord like D7 as a rootless D7(9)(13). So this kind of voicing will have the following chord tones:

3, 13 (or 6), b7, 9

Depending on the register, this may also be played with another inversion as follows:

b7, 9, 3, 13

In AL, the Am7-D7 (ii-V) chord progression is played with this rootless voicing (note the voice leading -- only one note moves - bolded).

Am7 - G B C E (b7, 9, 3, 5)
D7 - F# B C E (3, 13, b7, 9)

First Baby Step to Reharms - ALT and Tritone Substitutions

For out little exercise here, we will now take the original ii-V progression in AL:
|Am7 D7 |

and we will change it now to:

|Am7 D7 Alt|


You are now seeing a new chord being discussed in this thread and that is an ALT (Altered) Chord. A chord is considered Altered when you start using tones that are not in scale. For example, D7 belongs to the G Scale (fifth degree of G), which has the notes G A B C D E F# G.

A fully altered chord will contain, b9, #9, #11, #5 and if this is added to the G scale, you basically have 11 tones. We are only missing the natural 7.

In practice, when you see ALT, you typically voice #9 and #5, and you do not play an unaltered 9, 11, 5, 13. If you include the b7 and the 3rd, the dominant Alt sound rings out. So again to restate, an ALT chord is often voiced as b7, 3, #5, #9.

Now your eyes are watering at this point with confusion to what is going on. But this will clear up in a second. To play an ALT Chord, Play the Rootless voicing (unaltered as described above) of the dominant Chord a Tritone interval (b5) away.

So for D7, play Ab7! Ab7 is voiced as:
Gb Bb C F ( b7 9, 3, 13 )

So D7Alt = Ab7.
This is a Tritone Substitution


Tritone Sub Examples

Here's more examples of Tritone Sub Intervals (substitute enharmonic spellings as needed).

C7 Alt = Gb7
Db7 Alt = G7
D7 Alt = Ab7
Eb7 Alt = A7
E7 Alt = Bb7
F7 Alt = B7
Gb7 Alt = C7
G7 Alt = Db7
Ab7 Alt = D7
A7 Alt = Eb7
Bb7Alt = E7
B7 Alt = F7

I would advise, as a practice exercise, to memorize all the dominant 7 rootless voicings in all 12 keys as it is used in many other circumstances. It will be used in another situation discussed below.


Second Baby Step to Reharms - Major/Minor Chords

Progressing now to our second example, let's review the minor ii-V-i portion of the AL chord progression, which as everyone remembers as

Fm7b5 - B7b9 - Em7 (ii V i )


Look at the Em7 chord specifically. Although it looks the same as a ii chord being a minor seventh chord, notice that it functions as a Tonic (or i minor).

To emphasize the tonic sound further, one could play the Em7 as a minor/major chord, i.e. as
Em7(maj). A major/minor chord is the same as a Major Seventh chord with a flatted 3rd. So it is composed of the following chord tones.

1, b3, 5, 7 (Natural). It also typically includes a natural 6 (13).

So how do we voice an Em7(Maj)?

A good voicing for a Maj/Min chord will include a
b3 and a 6. These two notes define the chord quality.

There is an easy way to voice this, once again, using one of the Dominant 7 unaltered voicings above.

It turns out that the rootless voicing for Em7(Maj) is A7. Simplified, a Major/Minor chord can be voiced by playing a Dom 7 chord a fourth away (Interval between E and A is a fourth in the scale).


Restating the AL Chord Progressions with Reharmonizations

So here's a revised AL Chord Progression

| Am7 Ab7 | GM7 CM7 |
| F#m7b5 B7 | A7* |

* (Note: it is incorrect to state A7 as the actual chord. I'm just putting it here to suggest the voicing so you can all picture it. The reason it is incorrect is that the associated scale is different)


I can also state this as:

| Am7 D7 Alt | GM7 CM7 |
| F#m7b5 B7 | Em7(Maj) |


What's important here is to automatically understand the progressions if you encounter it in some other tune. Typically when you see an V Alt chord, then there is a chromatic progression as follows:

ii-bII7-I which is a tritone substitution version of ii-V-I.


Second, when seeing minor ii-V-i's, you always have the opportunity to see if the tonic (i) chord can be substituted with an Em7(Maj), which really implies that it's ok to play the 6th and the natural seventh (and skip the b7 of the chord). A tune discussed in this thread before that can have this substitution is Solar.

Trick Question:

To see if you completely understand what's happening here, watch the following progression:

| Am7 Ab7 Alt | GM7 CM7 |
| F#m7b5 B7 | Em7 |

Note the bolded chord. What just happened here? Well, unfortunately, nothing. An Ab7 Alt is exactly the same chord tones as D7 so nothing changed.


Summary/Loose Ends

Substituting chords in a tune means that you also have to change the scale used in Solos to accomodate the new chords. This allows you to expand the tune melodically by making many more notes available.

The caveat is that while playing the melody (during the head), you have to be careful to not do a substitution where a melody note is in conflict with the substituted chord. Here, you need to keep an eye on the alterations (b9, #9, #11, #5) to make sure that there is no melody notes falling on the 9, 11, 13 (unaltered tones).

Voicing ALT is also sometimes as simple as seeing #5 in a chord. So any chord notated as in these examples are screaming ALT.

D7#5
D7#9
D7(b9)(b13)
D7(#9)(#5)
D7(#9)(b13)

If you see the above, your eyes should automatically assume ALT and you can voice using the Tritone Substitute. (I hope everyone sees that b13 and #5 are the same note and that #9 is the same as b3).

The other form of ALT is
D7 #11

This one is more of a Lydian dominant and it really means that the #11 should be voiced. And this is considered an exception even if it has an Altered note. Usually this is seen by itself and not often combined with other Altered tones (at least from what I've seen on the Tunes I've worked on).

I will say more about ALT chords later. I happen to be working on a tune right now called "Invitation" (Bronislaw Kaper - Same guy who wrote On Green Dolphin St).

This tune is chockful of ALT and Major/Minor chords and is like a giant Theory Lesson incorporated into one tune. Unfortunately, other aspects of ALT doesn't apply to Autumn Leaves. Suffice it to say that there are more fun details.


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#1011392 - 06/01/08 06:21 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Ahh, advanced Jazz harmony . . my favourite!

The Tritone substitution is a most important feature of jazz harmony, and as pianists we can knock ourselves out with our meaty chord voicings - guitarist? eat your hearts out! laugh

The tritone goes way back in our music history, it's one of Bach's creative tools, in fact, he was told not to utilize it so much. "Early music also forbade usage of the tritone, as its dissonance was associated with the devil, and composers often went to considerable lengths, via musica ficta, to avoid using it. In the newer triadic harmonic system, however, the tritone became permissible, as it could form part of a consonant, yet unstable, dominant seventh chord."
More about the tritone.

Ok, enough with the history lesson. The tritone resides right in the middle between an octave C - F# - C. Think of it as a fulcrum. The tritone is also the "dark", counter to the "light": the octave. It's also a mirror. Ehh ehh right?!??

Look at this: [Linked Image]
The most important notes/tones in a chord is the third and it's colour tone: here a dominant 7th chord. Now look at the two chords, a tritone apart, they are a mirror of each other. That's the reason why it's such a powerful substitution!

#1011393 - 06/01/08 09:20 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Jazzwee - great stuff. Thank you for laying it out so clearly. It will be a nice addition to my Levine Jazz Piano book.

Chris - Hi! - How is Beatrice and how is daddyhood coming along? Do you have a new pic to post?


A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com
#1011394 - 06/01/08 09:54 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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Posts: 1,379
Stockholm, Sweden
The Daddyhood is fine, daddy however is a bit tired, time is of the essence and I'm happy to own a Roland FP-7 and headphones. They are a gift from The Muses for night-time practising.
[Linked Image]

#1011395 - 06/01/08 10:07 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
Joined: Jan 2006
Posts: 889
Swingin' Barb Offline
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Swingin' Barb  Offline
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Posts: 889
North Carolina
Beatrice is precious. 3hearts Looks like she's singing along to daddy's music.

Night time practicing - aahhh - nothing like it! Three cheers for your Roland.


A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com
#1011396 - 06/01/08 07:30 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
Joined: Apr 2007
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jazzwee Offline
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jazzwee  Offline
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So. California
Chris, thanks for adding to the story! (and the visuals!)


Pianoclues.com for Beginners
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Hamburg Steinway O, Nord Electro 4 HP

#1011397 - 06/02/08 12:31 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
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jazzwee Offline
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jazzwee  Offline
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So. California
Lesson 15 - Continued - More Theory about Tritones, etc.

Observe the original progression of AL (a snippet)

|Am7 D7 | GM7 CM7 |
|F#m7b5 B7b9 | Em7 |

Now let's do the substitutions as we discussed earlier.

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 F7b9 | Em(Maj) |

Whoa! Wait there's something new there. Wasn't that B7b9? Why is it F7b9 now? Well, we get to another theory item. The notes of F7b9 and B7b9 are the same. In fact, it is also the same as Ab7b9, and D7b9. The notes are C Eb Gb A. Make a note of this later as it will come in handy in the future. Dom7b9 chords can be moved a minor third in any direction (BTW two minor thirds = a tritone interval). The distance between B7b9 and F7b9 is a Tritone interval so here we have another form of Tritone Substitution.

You might ask, what is the purpose of changing B7b9 to F7b9 when they have the same notes?

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 F7b9 | Em(Maj) |

Skipping CM7 for a moment, what do you notice here? Well, if you're a bass player, you will immediately understand that performing tritone substitutions makes the bass notes chromatic in ii-V-I's. Here you will see the chromatic nature of Autumn Leaves, with a temporary respite at CM7.


So anytime you see any chromatic sequence of chords, you can start thinking of them as ii-V-I's, ending on a tonic chord.

(A chromatic progression like this is suggestive of a Circle of Fifths. So anytime you see a chromatic sequence, it is really a Circle of Fifths after having Tritone substitutions. In other words 2-5-1 becomes 2-2b-1. The circle of fifths diatonic progression is 4-7-3-6-2-5-1. After tritone substitution, it will appear as 4-4b-3-3b-2-2b-1).

While we're at it, I might as well close this with another substitution on paper:

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 F#o7 | Em(Maj) |

What's new here? Notice the B7b9 is gone now and it is replaced by F#o7 (F# Diminished Seventh). Actually there is nothing new here. F#o7 is exactly the same as F7b9. So the only difference is the root. In rootless voicings they are exactly the same thing.

And just to again make sure we see the whole picture, the following progressions have the same notes.

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 F#o7 | Em(Maj) |

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 Ao7 | Em(Maj) |

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 D#o7 | Em(Maj) |

| Am7 Ab7 | GM7 (CM7) |
| F#m7b5 Co7 | Em(Maj) |

Same rule applies to Diminished chords. Move them in minor third intervals in any direction and they will have the same notes. They are SYMMETRICAL CHORDS.

Now all the above substitutions are not really substitutions. They are just notation alterations. Unless the progression is modulating somewhere, the above notations just serve to confuse. Yes they mean the same thing but the purpose and functional harmony (ii-V-I) isn't obvious so for the purposes of AL, they are poor notations. However you will encounter these kinds of progressions in more complicated tunes where they will make more sense in the context of modulations.

Back to the 1st diminished example, when a chord starts off with a b7 interval as in F#m7b5 (or F#m7) and then is followed by a F# diminished chord, you will immediately recognize this as chromatic movement which once again will suggest a ii-V-I.

As you can see ii-V-I's in Jazz have a lot of permutations and combinations and all helping us to more possibilities through the use of Tritone substitutions.

BTW - This stuff is considered basic theory in Jazz. So learn it well. This is the stepping stone to more advanced harmony theory.


Pianoclues.com for Beginners
My Jazz Blog
Hamburg Steinway O, Nord Electro 4 HP

#1011398 - 06/02/08 12:38 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
Joined: Apr 2007
Posts: 7,203
jazzwee Offline
7000 Post Club Member
jazzwee  Offline
7000 Post Club Member

Joined: Apr 2007
Posts: 7,203
So. California
Chris, Baby Beatrice is getting big! She will constantly remind us of how old this thread is laugh ...I forget, and I don't want to search back. How old is she now? This thread is 6 months old and she was born somewhere in the middle.


Pianoclues.com for Beginners
My Jazz Blog
Hamburg Steinway O, Nord Electro 4 HP

#1011399 - 06/02/08 02:54 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.  
Joined: May 2007
Posts: 1,379
chrisbell Offline
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chrisbell  Offline
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Joined: May 2007
Posts: 1,379
Stockholm, Sweden
thank you all for those kind words. she'll be 3 months the 5th.

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