Amazingly enough, it's a perfectly civil posting.
In article <slrndej8dn.av0.slvrmn@[EMAIL PROTECTED]
>,
Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>On 2005-07-29, Joseph Albano <josf@[EMAIL PROTECTED]
> wrote:
>> Albert Silverman wrote:
>>
>>> On 2005-07-25, Olo <tu@[EMAIL PROTECTED]
> wrote:
>>>
>>>>Hi
>>>>Could You tell me what's the progression used in "Autumn Leaves" tune?
>>>
>>>
>>> What is it that you are looking for? You provide the "original
>>> progression" below, so I don't understand your question.
>>>
>>>
>>>>Where does the alternate progression come from?
>>>
>>>
>>> Wherever it comes from, it is BAD, particularly the E7 chord in the
third
>>> measure. In this measure, the melody (which you do not show) contains
>>> tones Eb->F->G which are accompanied by your "alternate" chord E7,
>>> containing tones EG#BD. The melody is an ugly (translation:awful!)
clash
>>> with the E7 chord, and cannot be seriously considered.
>>
>> I am constrained to point out that the melody notes Eb->F->G occur in
>> the fourth measure, not in the third measure, and are therefore *not*
>> accompanied by the E7 chord, but by the Bbm7>Eb7 chords.
>
>You are correct. I read the post too quickly and got it wrong.
>
>Thank you.
>
>
>Albert Silverman
>(Al is in Wonderland!)
>where Wonders never cease!!
>
>
>>
>>> Where on earth did you get *this*?
>>
>> This type of chord progression is idiomatic of jazz, and actually
sounds
>> just fine.
>>
>>
>>>
>>>>The original progression is Cm7 | F7 | Bbmaj7 | Ebmaj7 | Ami7b5 | D7 |
Gmi |
>>>>The alternate changes are Cm7 | F7 | Bmi7 E7 | Bbmi7 Eb7 | Ami7b5 | D7
|
>>>>Gmi |
>>>>
>>>>greets
>>>>Alex
>>>
>>>
>>
>>
--
Matthew H. Fields http://www.umich.edu/~fields
Music: Splendor in Sound
To be great, do better and better. Don't wait for talent: no such thing.
Brights have a naturalistic world-view. http://www.the-brights.net/
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