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Cool, thanks Heavy, I'm starting to get it now. Maybe in retirement I'll have time to take up jazz theory. It's fascinating stuff.
Ladybird and Just Friends are both perfect examples.

I'd also say "The Days of Wine of Rose", bar 7 and 8. Depending on the version you listen to or the leadsheet you consult you may see it written as Db7 (so no Bbm7). It also doesn't resolve to I but iiim instead, however these are very similar sounds - try playing Ebmajor7 and then Gm7 on the piano. Or play a Ebmajor 9 arpeggios (Eb G Bb D F), then a Gm7 arpeggios (G Bb D F)....

I tend to think of "four minor" as sound or harmonic place which a tune can "visit". The majority of standards feature it, sometimes as ivm sometimes as bVII7, sometimes as iiihalfdim (e.g. I Love You). Lots of pop tunes do it too
 

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OK, well a couple of observations from a non-expert here. I've played this tune a hundred or so times and because I'm basically an ear player I've never had to consider the changes as being weird.
When I was younger, I always had a hard time with this tune in my father's combo. I also had my head in the chart. Flashforward almost thirty years and a pianist with my current combo, for which I refuse to use charts, started playing the tune. Having heard it so many times, I can't even tell you what key we played it in. I just played it by ear and finally felt a newfound appreciation for the tune. A beautiful number. It's the perfect canvas for self-expression. Can't tell ya what the chords are though...
 

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One problem with this.... 'analytical' vid....:|... as with a lot of this guy's stuff....is that it has a lightning-rod title to get clicks.

In this case, the entire Premise is even off....that musicians consider GFIp a "weird song"...is completely ersatz (unless it is en vogue in music colleges these days ?).

Having been gigging Jazz for 40 years, and having gone thru many music programs myself.....I cannot actually think of a musician I have known who has used the term 'weird song'. If there were a few....it certainly never caught fire.

I have heard 'beautiful', 'brilliant', 'overplayed', 'a bit challenging', etc. But in the Jazz circles, it is not considered 'weird'.

Except when one needs to come up with a click-catching, self-promoting YT vid title....
 

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One problem with this.... 'analytical' vid....:|... as with a lot of this guy's stuff....is that it has a lightning-rod title to get clicks.

In this case, the entire Premise is even off....that musicians consider GFIp a "weird song"...is completely ersatz (unless it is en vogue in music colleges these days ?).

Having been gigging Jazz for 40 years, and having gone thru many music programs myself.....I cannot actually think of a musician I have known who has used the term 'weird song'. If there were a few....it certainly never caught fire.

I have heard 'beautiful', 'brilliant', 'overplayed', 'a bit challenging', etc. But in the Jazz circles, it is not considered 'weird'.

Except when one needs to come up with a click-catching, self-promoting YT vid title....
Just my feeling, a solution in search of a problem. I never played Ipanema according to charts, always by ear and it eludes me how you have to artificially construe another encounter of the third kind theory around a song. About one chord change.
 

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The "Weird" clickbait title doesn't bother me. I found the analysis interesting though.

Insights and incites by Notes
 

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Not to mention the first contribution which set the mark quite high. :mrgreen::mrgreen:
The TOTM is not a competition Dex!
 
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