what tunes?

But Not For Me!! would like some insight on the john coltrane version from my favorite things (and compare it to other versions too hehe)

my one and only love!

Jazz Duets Thank you for all that you share 🎶💯

@@JazzDuets Geogia on My Mind - a classic

Thanks again Nick for taking your valuable time and energy to provide such a helpful learning tool for those of us who have chosen to grow as musicians. I am a slow learner, but with your help, I am indeed slowly learning.

Wow, Nick! Not sure how I missed this back in July. Was referenced to it while watching your Micheal Brecker maj3 over minor chord video and the Stevie Wonder whole tone video multiple times. Anyway, you have Wes Montgomery's photo on this video thumbnail. So my favorite Summertime contrafact is Four On Six. Thanks!!!!!!!!

JM MP was expecting a 6/9 chord

Now I get it, thanks a lot

It's a chromatic ii V! It has an interesting sonority for being out of the key, but the 3rd and 7th movement to land in the next ii V is similar from the movement inside the ii V. To exemplify. Eb-7 has a Gb (3rd) and a Db (7th) walking into a Ab7 with a Gb (7th) and a C(3rd). Then you go from an Ab7 to D-7 where you'll have an F (3rd) and C (7th). So in every movement the third and the seventh from the chord you are in will move no more than a half step to find the seventh and the third from the next chord. Maybe someone can explain better than me, but I hear it that way! Hope it helps!

You should probably look at the Ab7 as a dominant of G7, and this makes a lot of sense - you just have the ii chord of each dominant added before it. So basically, it's just an Ab7-G7 (subV/V-V) with some more harmonic movement. Adding the ii chord before the dominant doesn't really change how it functions.

That's actually my favorite part. That's what makes jazz my favorite music and it has endless possibilities.

I’ve been pondering this for a while now and I think it makes sense because the voicings of the Eb and Ab chords. They descend neatly into the D-7 so you could think of this chromatically, as well as the notes compact into a tight almost crunchy bunch going into the Ab7 with the Ab and Gb adjacent which makes for a refreshing yet not too strong resolution to the D-7 where all of the notes are some 3rds apart. This is exemplified by the melody resolving to a D. Sometimes you need to take a step back in analyzing and look at chords as individual notes that lead you somewhere. Hope this helped. 8:16

Sure, there's some chromatic voice leading happening, but I would still suggest looking at the bigger picture and what functions the chords have. The Dm7 is actually an irrelevant chord - it's just a delayed resolution to G7. The Ab7 clearly wants to resolve to the G7 - it doesn't really resolve to the Dm7 chord. The chord progression is sub(ii-V)/V -> ii-V. The Ab7 is still functioning as the (substitute) dominant of G, but the resolution is delayed by adding the Dm7 chord between the Ab7 and G7. In jazz basically all dominant chords can be replaced with a ii-V. So the original progression is simply Ab7-G7-Cm, i.e. subV/V-V-i. But we can turn all V chords into ii-V progressions to create more harmonic movement. So the progression becomes Ebm7-Ab7-Dm7-G7-Cm. The Ab7-G7 resolution is still there, it's just delayed.

jeewoo7195 good question bro. Still couldn’t figure that out

I think it means that Eb-7 is the ii of D-7, and Ab7 is the V of D-7, so it's a ii V progression relative to the D-7.

sillydillydokieo how come Ab7 could be the V of D-7? And Eb-7 could be The bII of D-7 in this case but still doesn’t make sense.

@@poderes Oh, yes, I see your point. Good questions, I can't believe I overlooked it. Ab7 is the flat V of D, that's the issue, right? Maybe the song is in the Locrian mode? I dunno...

Sounds like something you could do!

haha!