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Brian Ray
Mar-28-2004, 2:30pm
I've been working on "I can't give you anything but love" and thought I would share. I came up with this basic take on it. Feel free to comment, correct, pillage or add...

G # # #455x # //
Am7 223x # /
D7 # #243x # / # (545x)
G # # #455x # //
Am7 223x # /
D7 # #243x # / # (545x)
G7 # #435x # //
C # # #523x # // #(walk down on G)
A7 # #224x # // #(657x)
Am7 223x # /
D7 # #243x # / # (545x)

G # # #455x # //
Am7 223x # /
D7 # #243x # / # (545x)
Dm7 525x # //
C # # #523x # ///
C#m 624x # /
G # # #455x # / # (walk whole chord down)
E7 # #102x # /
Am7 223x # /
D7 # #243x # / # (545x)
G # # #455x # /
D7 # #545x # / #

I like this turn around instead of the last G and D7. Play 1/2 bar for each chord...
G(455x) #• Em7(354x) #Am7(223x) #•# D7(243x) #•

Seth Rosen
Mar-28-2004, 11:18pm
I think you've got a chord missing...the second measure should be Gdim (354x would work) the same everywhere you have 2 measures of G.

Also an alternative to your walkdown from G on the C chord is voice leading on top C Cmaj7 C6 (32O on the A string)

Brian Ray
Mar-28-2004, 11:59pm
I like following the melody on the G. Eg:
G(455x) • G/F(445x) + G6(422x)
Am7 223x #
etc...

jeffshuniak
Apr-06-2004, 11:19am
I transposed this to C and wrote it out polyphonically, chord and melody together working in contrary and/or parallel motion. In C, you have a lot of room to walk before you have to turn around or invert. also, just check out the way the "voice" sounds in that range, on the mandolin particularly. (for mandolin) I tried G, but lost chromatics on the mandolin, works great on guitar though. it sounds real nice and good practise for polyphonic playing. you can check it out if you like, I can real mail it to you. I also did this to georgia on my.. (G) I only write it one time thru, then you gotta improv. #I did a bunch, I cant remember them all, but they are mostly tunes played by the "hot club" # email me if you want.

Pete Martin
Apr-07-2004, 11:57am
You may want to make the 2 beats of Dm7 into one beat of Dm7 and one beat of G7 (4th chord change in the second half of the tune).

There are so many options for chord substitution in jazz tunes, that there is no one "right" way the chords go in my opinion. There are options one player probably likes better than others.

I like to find the essential chords with out any substitutions and work "up" from there. A good source for these basic versions is a web site called "The Vanilla Book". Search for it.

Ted Eschliman
Apr-07-2004, 12:17pm
You may want to make the 2 beats of Dm7 into one beat of Dm7 and one beat of G7 (4th chord change in the second half of the tune)...
A good source for these basic versions is a web site called "The Vanilla Book". #Search for it.
Ahh, the Stiernberg Substitutions... replace a dominant (or in this case dominant prep) with a 'ii V7.'
Good call.
As far as the Vanilla Book, search no farther:
Ralph Patt Jazz Web Page. (http://www.ralphpatt.com/Song.html) (Good one to bookmark!)

AussieBruce
Apr-10-2004, 3:34am
Thanks so much for this thread. This was my mother's favourite song, and every time I read the title I hear her singing it. Indelibly etched into my brain. thankyou thankyou thankyou.

I am coming back from 2 months away from mando due to right wrist damage, this is a great welcome back present for me.

Bruce in Adelaide, South Australia

Brian Ray
Apr-10-2004, 10:53am
My pleasure...

Brian KC
Apr-14-2004, 8:19pm
Thanks all, the Ralph Patt site is great. #My passion is Irish Trad but this is fun stuff...

So little time...

Brian Coakley

Ted Eschliman
Apr-27-2004, 5:10pm
I was just listening to a relatively recent Diana Krall recording of this tune; her band uses a powerful common substitution (as Pete has already mentioned) for just the first four measures. Great for energizing some static changes:
G # # C7 # # Bm7 ##Bb7 # # #Am7 # # # # # # ##D7
/ # / # / # / #| #/ # / # / # / # | # / # / # / # / # | / # / # / #/ #|

or sub Bm7b5 for Bb7
or sub E7+9 # #for Bb7
and of course you could precede the D7 with two beats of Eb7
/ = one beat
| = measure mark

Pete Martin
Apr-28-2004, 12:04pm
Good changes, Ted. Nice modern sound. Is it played with a laid back tempo? If so, it would also sound cool to start the second half of the tune on a G7 type sound and use the other chords you've mentioned ("Gee I love to see you lookin swell").

Ted Eschliman
Apr-28-2004, 12:57pm
Pete;
She doesn't do it too slow, but one thing she's got going for her is a real driving bass line underneath. (The circle of 5ths/tritone sub fares much better with that sort of harmonic "definition").
Texture would be crucial here also, I think the first verse she does the bass (left hand only) on grand piano, adds a light comping guitar line, and brings in the upright bass. With that "sparseness," she also gets to show off her exquisite jazz vocal chops and all its nuance.
'G7' would also contribute the the "circle of 5ths" harmonic drive. Good suggestion.