![]() ![]() I wrote B7 just to clarify the II V connection.Īctually, I was thinking of the first beat on the measure 12 being E from the beginning of the bar, the written arrangement has the quarter pause for no reason actually.Īlways remember to look at the bigger picture The function of the bar 12 is to have a dominant chord that resolves to E-, the colors which we use are up to us to decide. Yes, you are correct, the right exact chord symbol for the measure 12 would be B7sus. I’m not quite sure I understood your question, but here some thoughts: Why do you use the E in the measure before to change the melody in m 12 and to change the chord to a Sus?” ![]() “m 11 -the melody note is an e (before measure 12)-You say to use B sus because of the melody note but in m 12 there’s a rest on beat 1 going to a B in the melody. The II chords can be used without the V this creates a relatively milder dominant tension, but still functions as one (see and play attachment). So, you can think of the bar 5 as a bar of Gmaj7, after the A-7 D7, and before starting to move towards the IVth degree Cmaj7 (D-7 G7)Īlso, you can think of the E-7 as a II chord of the E-7 A7 II V, which would resolve to the D-7. There are many ways you can think of this measure.įirst, E-7 is the same thing as Gmaj7, which is the key of the arrangement. What is the thinking that allows you to decide to replace the D minor chord going to G7, to the Eminor passing tone progression?” This is a characteristic sound of Bill Evans and can be heard in many of his recordings.Ĭheck out Hayden’s course on block chords and drop2 voicings here: He starts with the theory, and then applies to the jazz standards.Īlso I’m going to do a 5 minute masterclass about the so called ‘Barry Harris’ drop 2 voicings, where I also explain the major or minor chord/diminished chord movement with the melody. To summarise: drop 2 is an alternate way to voice the notes of a chord to achieve more interesting interval combinations. In bar 13, I harmonise the stepwise melody with drop 2 voicings.Ī 9:08, I play a 2nd inversion voicing for E-7 – I then drop the second to top note down into my left hand to play E-B-D-G – the E is the dropped note.Īt 9:09, I play a diminished 7th chord C-Eb-F#-A but I drop the second to top note (F#) into my left hand to play a drop 2 diminished voicing.Īt 9:10, I play a 3rd inversion E-7 – I drop the second to top note (G) into my left hand to get the drop 2 voicing: G-D-E-B Share and Play Anywhere: Headed to a jam session or choir practice? You've got your music with you, always.Hi Lonnie, the below message is from Tuomo…ĭrop 2 is a voicing technique where you drop the second note from the top of the voicing into the left hand. Eco-Friendly: Save trees, skip the print! Plus, with digital, you can zoom, highlight, and make notes without messing up the original.Ĥ. ![]() Easy Access: Whether you're on your tablet, phone, or computer, your music is just a tap away.ģ. You can trust the notes to be on point.Ģ. Quality Assurance: You're getting the real deal, not some half-baked version. Oh, and a quick heads up on why buying licensed digital sheet music rocks:ġ. So, after you've made it yours, don't forget to swing by the admin area if you're feeling like tweaking the key to your taste. Now, if you're thinking of getting your hands on the music, here's the deal: when you make that purchase, it's gonna land in your library in the original key. This cool feature lets you mess around with the song's key, shifting it up or down by about 3 semitones from its starting point. If it's lighting up in bright white, it's your cue to give it a click. ![]() Ever wondered if you can play "Emily (from The Americanization of Emily)" by Bill Evans in a different key? Here's the lowdown: Search for the little notes symbol chillin' at the bottom of the sheet music. ![]()
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