alternative cadences
Jeff L.
Especially that maj7 chord. It starts to sound cliché and that maj7 sounds
to sorry for itself so to speak- maybe to maudlin.
I am always interested in ways of escaping this that still have a sense of
progression or cadence like V7 -I but still sound Jazzy (that altered wrong
note feel or blue note feel).
Now there are lots of progressions out there I guess, like the changes for
giant steps but that one still sounds less like a progression and more like
jumping around-sounds to much like an arbitrary sequence of chords to me.
Some some other progressions sound less Jazzy and more like rock or pop
(e.g. I -I bII IV I ).
I like a mixolydian feel but I don't want to go modal/linear.
I experimented playing over C7 C7 Galt G7. I use a bluesy/mixolydian (no
alteration and nat 4) on the C7 and altered scale on Galt. Well it sounds
fine to me and there is no syrupy maj7 sound. Anyone else here this as
natural sounding? I call the C7 in this context a tonic flat7 ot mixo-tonic
since it is the relative state of rest in the progression.
What tunes employ this cadence. and...
more importantly what are peoples favorite alternatives to the usual
ii -V7 -Imaj7 ??
Robby
without the natural 7th, as well as throwing in the #11 & occasionaly #5 on
Ima7 keeps it varied. But I don't find the vanilla ma7 'sorry' sounding as
you put it so maybe you're looking for more drastic variants. IVmi7 bVII7 I
& IImi7 bII7 I & bVI7 Vsus7 bIIma7 more the kind of thing you're seeking? I
guess a big question is what context your talking about- existing tunes or
originals? What instruments & amount of space for improvising chord
progressions?
Jeff L.
The second one I don't understand how does it resolve? Does it end on
bIIma7 ?
How about this one?
VII7 III7alt I7
or III7alt VII7 I7
By the way the arps at the begining of the Mahavishnu song "dance of maya"
seem to be outlining a really neat progression but I can quite figure out
the function role or naming of some of the chords ??something"" resolves
to seventh chords.
"Robby" <rob...@UNSPAMjavanet.com> wrote in message
news:ajf9nt$s2v$1...@bob.news.rcn.net...
Kev
> more importantly what are peoples favorite alternatives to the usual
> ii -V7 -Imaj7 ??
Check out Thelonious Monk. His "Pannonica" ends on a surprising DbMaj7, where
you expect to find a CMaj7. In "Four In One", at least in the versions I've
heard, the A sections end on an EbMaj/Db, as opposed to the expected EbMaj.
-Kevin
Doc
choice of CMaj7,D7,Emi7,F#mi7b5,GMaj7,Ami7, or Bmi7
--
Doc
http://www.trimcrafters.com/drpc.htm
"Jeff L." <jle...@cox.net> wrote in message
news:l_C69.4820$hg....@news1.central.cox.net...
Tom Walls
says...
snip
> more importantly what are peoples favorite alternatives to the usual
> ii -V7 -Imaj7 ??
Dave Liebman says that because the melodic motion of a ii/V7 is so
strong, you may substitute any ii/V for any other ii/V. I get a lot of
mileage out of sweeping, off-the-wall concepts like that.
--
Tom Walls
the guy at the Temple of Zeus
http://www.arts.cornell.edu/zeus/
Lawson Stone
From the IIm7 I go up a minor third, playing a minor 11th with the 11th in
the lower register, than back that down a half-step for the I.
In C, it goes Dm7 Fm11 Em11
Actually sound nicer than it looks
************************************************************************
"Not bad, not bad at all," Diotallevi said, "To arrive at the truth through
the painstaking reconstruction of a false text."
************************************************************************
Lawson Stone
Let's talk about: Jazz Guitar, Cowboy Action Shooting, Horses,the Bible
Come by for a visit at: http://www.alltel.net/~lawsonstone
Adam Bravo
suggestion if you find the maj7 too "syrupy," leave out the seventh and go
for a 6/9. I use that when I'm fooling around with pop and the maj7 is too
defined.
As for ii-V-I alternatives, you can move up a regular old ii-V in minor
thirds. So, instead of Dm7-G7-Cmaj7:
Abm7-Db7-Cmaj7. Of course the dominant is just a tritone sub for the V. Many
forget that you can take the ii along also, like in Satin Doll. In most
cases, it sounds more streamlined to me to make the ii a minor (major
seventh), i.e. Abm(maj7)-Db7-Cmaj7.
Em7-A7-Cmaj7. I don't use this one particularly often, but, hey, it's in
Footprints.
Fm7-Bb7-Cmaj7. This is found quite a bit, but IMO it could be used even
more.
That last one can also be used with Eb as the tonic:
Fm7/Bb7/Eb/C7alt./Fm7/Bb7/Cmaj7. Then you have to find a way to get back to
Eb, but the Cmaj7 is a nice sound - kind of resolved, but still having a
little tendency to go back to the tonic.
In certain situations, Gbmaj7-Cmaj7 works. Try
Cmaj7-Abmaj7-Dbmaj7-Gbmaj7-Cmaj7.
Say you have 3 bars left in a song in C, but you resolved to C in the 3rd to
last bar. Then try Cmaj7/Ebmaj7-Abmaj7/Dbmaj7-Gbmaj7. It's like a Dameron
turnaround, but moved forward and extended.
There was one other I thought of but forgot. It was a good one, too. Sorry.
"Jeff L." <jle...@cox.net> wrote in message
news:l_C69.4820$hg....@news1.central.cox.net...
Adam Bravo
Diminished stuff- like Cdim to Cmaj7. Plenty of ways to approach and invert
that one.
Try doing things within a mode. Most people tend to think of modes as being
static, but with a little root motion, it sounds cool.
Tongue in cheek, I decided to play a ballad version of the Nirvana
heavy-metal song Smells Like Teen Spirit. In all power chords, it's
F-Bb-Ab-Db. I do like the melody, though.
I found it all worked within an F natural minor scale (aeolian?)
F-G-Ab-Bb-C-Db-Eb. I got Fm7-Bb7sus-Abmaj7-Dbmaj7. The Db is kind of an
avoid note on the first three chords, though.
That reminds me, you can fool with the tonic in the V-I. Like
Gm7-C7-Dbmaj7/F. That Dbmaj7/F substituting for the Fm always reminds me of
Eighty-One. Or you could go Gm7-C7-Gbmaj7/F (very Herbie, to my ears).
Don't forget suspended chords. They sound cool as a ii-V, or I. Try
D7sus-G7-Cmaj7.Or Dm7-G7-C7sus. You can make the V a sus, too, but it
requires some handling to not be "syrupy." You can make all of the chords
suspended, or just certain ones.
Pedal tones work, also. Try putting any of those ideas over a dominant pedal
tone (fairly common). Less used is a tonic pedal tone. There are 10 other to
try, too, and I bet all of them would work given the right treatment.
Have you not approached making the ii dominant, like D7-G7-Cmaj7? So many
possibilities there, like whole tone scales, etc. With the whole tone scale,
you could get all sorts of things happening on the II - some people here
better know those sorts of things.
Just remember that it's all IV-V-I and there's lots of stuff to do. Make the
IV minor. Fm7-G7-Cmaj7. Make that minor a minor plagal cadence Fm-C. Mix and
match ideas and the normal stuff, so you could get Dm7-Bb7-Cmaj7, and...
That's a lot of ideas. I didn't realize I knew so much. :-)
"Jeff L." <jle...@cox.net> wrote in message
news:l_C69.4820$hg....@news1.central.cox.net...
Jack A. Zucker
over Dm7-G7-Cmaj7
Dm7-G7-B triad
Dm7-G7-E triad
Dm7-G7-D triad
Jaz