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Discussion Starter · #1 ·
Write a 100 licks on this progression and you could sell a ton of books to the New Orleans public school system.

IV, bVdim, I, VI7, II7, V7, I,V7
 

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Write a 100 licks on this progression and you could sell a ton of books to the New Orleans public school system.

IV, bVdim, I, VI7, II7, V7, I,V7
It would be #IV dim, not bVdim.

I know the notes would be the same, but voice leading is everything...
 

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That's a great, and common, progression. But I think it's too long to fit any specific lick to it. Better to work with smaller increments when using licks. Then string 'em together or look to longer phrases. It's not really desirable to get too formulaic with a longer progression like that, imho. I could be totally wrong, though.
 

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That's a great, and common, progression. But I think it's too long to fit any specific lick to it. Better to work with smaller increments when using licks. Then string 'em together or look to longer phrases. It's not really desirable to get too formulaic with a longer progression like that, imho. I could be totally wrong, though.
But you're totally right.
 

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That's a great, and common, progression. But I think it's too long to fit any specific lick to it. Better to work with smaller increments when using licks. Then string 'em together or look to longer phrases. It's not really desirable to get too formulaic with a longer progression like that, imho. I could be totally wrong, though.
And you can even use your 2-5-1 in there as well... :)
 

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That's a great, and common, progression. But I think it's too long to fit any specific lick to it. Better to work with smaller increments when using licks. Then string 'em together or look to longer phrases. It's not really desirable to get too formulaic with a longer progression like that, imho. I could be totally wrong, though.
I agree. You could write a book of melodic ideas to play through those changes with examples but it would be more for ideas than note for note licks you would memorize.
 

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Discussion Starter · #8 ·
I usually do write #IVdim. That does make more sense. Also, I know I can PM you Neff, but I get more feedback (and so do you) if I put it on the list. Sometimes I just want to see what everybody has to say. I do think you could make money with that. There are, of course, a lot of variations on those changes.

IV, IVm, I, VI7, IIm, V7, I, V7 is another that occurs a lot.

In Cabaret they hide it this way: IV, #IVdim, IIIm7,VI7, IIm7, V7, I, V7
 

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Write a 100 licks on this progression and you could sell a ton of books to the New Orleans public school system.

IV, bVdim, I, VI7, II7, V7, I,V7
Why do you think there would be a demand for that in the NO public school system? Just curious.
 

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I usually do write #IVdim. That does make more sense. Also, I know I can PM you Neff, but I get more feedback (and so do you) if I put it on the list. Sometimes I just want to see what everybody has to say. I do think you could make money with that. There are, of course, a lot of variations on those changes.

IV, IVm, I, VI7, IIm, V7, I, V7 is another that occurs a lot.

In Cabaret they hide it this way: IV, #IVdim, IIIm7,VI7, IIm7, V7, I, V7
No problem. It just seemed like you were talking more to me than starting a thread of discussion. Are you in the New Orleans area?
 

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Discussion Starter · #11 ·
Why do you think there would be a demand for that in the NO public school system? Just curious.
If I'm not mistaken, many of the band programs in New Orleans include Trad jazz instruction, and nothing says trad jazz like Bill's last eight (last eight bars of Bill Bailey). I've often wondered if this exact progression has ever turned up in classical music. It must have. The first tune I know of that used it was "Original Dixieland One-Step" which was stolen from an earlier ragtime piano piece.
 

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That progression is in a lot of New Orleans r&b tunes, as well as blues tunes and soul ballads. Ray Charles' "Hard Times" is another variation on it.
 

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I played the progression on the piano. I could almost hear Dr. John starting to sing to it...maybe he would throw in a #5 on the last chord.
 

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Discussion Starter · #15 ·
That progression is in a lot of New Orleans r&b tunes, as well as blues tunes and soul ballads. Ray Charles' "Hard Times" is another variation on it.
The chord progression to Bill Bailey is the New Orleans blues. I know a guy who has found more then 50 tunes that use the entire 32 bars of the Bill Bailey changes. If you want to write a tune that everyone (the musical morons) will like, just use those 32 bars. I even thought (but not seriously) of creating a band that does nothing but tunes with that progression. I'll bet people wouldn't notice and probably love it. BTW, try playing the Bill Bailey changes to Stars and Stripes Forever.
 

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The progression for Little Willie John's tune, Need Your Love So Bad, is another variation on the same idea.
 
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