- 3,543
The two chords in question are... BbMaj7#11 = BbMaj7Lyd
Thanks
Chris
Thanks
Chris
Don't know BiaB, but will it accept #4 as an alternative to #11?Pete, I am doing a track for "Blue in Green"..The 5th bar is Bbmaj7#11..Problem is BiaB won't take that chord but it will use Bbmaj7Lyd in the chord builder..Hence me asking the question..
Chris
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.
Another victim of the Real Book IMO.
This is pretty much the case here.
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..
Chris
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:
|:Gm7|A7#5|Dm7|Cm7 F7|BbMaj7(#11)|F7#5|Dm7|E7(#9b13)|Cm7|Dm7:|
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.
I think Coltranes solo on this tune is sublime by the way.