The two chords in question are... BbMaj7#11 = BbMaj7Lyd
This is pretty much the case here. In the original recording Miles sits on that E every chorus but nobody else in the tune plays it, whether Bill Evans' comping or Trane's chorus (all of which is double time compared to the trumpet choruses, BTW).I don't know the tune, but often if there is a #11 in a chord, it's because that is the melody note. In which case you don't actually need it in the backing.
And in many many cases where you get chord charts. If the melody is an extension, it's safe to leave that extension from the backing.Another victim of the Real Book IMO.
This is pretty much the case here.
FWIW there is a huge difference between a b5 chord and a #11 chord, and I wouldn't substitute one for the other, especially here. With a #11, the E (say it's Bb chord) is in the right hand, you've got that major 7th interval between the 5th and the #11. With a b5, it's in the left hand, you've got a tritone underneath everything instead of a perfect 5th. It's a much different color, and takes away the "Majorness" of the chord. Listen to the original recording, Bill Evans has an F in the left hand every single time they get to that chord.Thanks to all of you that have answered my OP. Morgan I have the same changes as you..BM b5 seems to work, so thanks for that.. PT thanks for the advice re extensions and melody notes..
Interesting. This was a common technique in C14th / C15th polyphony and known as 'isorhythm' (whence isorhythmic motets) where the (usually 3) lines would have different metrication in a strict ratioe.g. 4:3:2 (i.e. 4 passes through top part equals three through second equals two through third). They are fiendishly difficult rhythmically and highly syncopated. One of the great exponents was the English composer Dunstable, continental examples include Machaut and Dufay - try this as an example.Another victim of the Real Book IMO.
This is pretty much the case here. In the original recording Miles sits on that E every chorus but nobody else in the tune plays it, whether Bill Evans' comping or Trane's chorus (all of which is double time compared to the trumpet choruses, BTW).
I don't know what changes you've got but it goes:
In the above, all extensions are in the melody but not in the comping. If you're making a backing track I would leave bar 5 a BbMaj7 and leave bar 8 an E7, just keep in mind that that #11 (bar 5) and b13 (bar 8) are in the melody.
Another unusual thing about this tune (aside from the melody and the 10 bar form) is the time --
On Kind of Blue the piano and tenor choruses are double time (i.e. 5 bar form, not 10).
When Bill Evans would play this in trios later than this band he would play a couple of choruses, then double time a few, then double that, then step back down to the original tempo.