J'attendrai Harmonic Study

lemanouchecbien

Let me know if this correct or your views on this tune.

Thanks !

gotgenes

On the first line, instead of C to C#dim, I hear C to Cdim, and I split the measure

C | C | C | F7 | C | C Cdim (or C D#dim) | Dm7 | A7

On the second line it seems like it's usually

Dm | Dm(Maj7) | Dm7 | G7 | Dm/A | G7 | C | C (or C# or C#7)

I don't know exactly what the gypsy jazzers usually put in for the Dm/A--that's my best guess. It sounds like Tchavolo substitutes an F or F6, which is really just Dm7 with an F in the bass. There may also be other tricks than the Dmin line cliché for that part, too. I'd be interested in what other rhythm players do.

klaatu

Yet another opinion (and only an opinion):

The F7 in the first line seems to clash with the melody. The melody line has B natural at that point, which does not appear in the F7 chord (it would appear in F7b5, but that's a bit weird to my ear). We play a G+ at that point (or B+, which amounts to the same thing). A G7 would work, too.

In the third line, C7 C7 is OK, but Gm7 C7 is more interesting.

We play G+ as the last chord to lead into the next chorus.

I personally like the C#dim in the first line as opposed to Cdim, but either one works.

Bones

I've always wondered about that F7b5 as well. B+ sounds better to me but there are a lot of common tones.

What ideas do you use to solo over the F7?

JazzDawg

Ok, I'm confused. Without giving too much away, my Gypsy Jazz Chord book has an F9 played on that measure. I've seen other grilles with a B7b9. So, at best grilles are just suggestions not really what you have to use, right?

I don't know exactly what more experienced players, like Robin Nolan or John Jorgenson use, but it would be nice to know though it probably just comes down to what you 'hear' as right. If the B natural in the melody clashes, and you find another chord that sounds better, you can use it. In fact, could you not also, change the note in the melody without doing serious harm? Just talkin' here, no real authority. I'm on the lower end of the learning curve too. So, you gigging folks go ahead and keep those comments, suggestions, and tutoring examples coming. I appreciate them all.

djangology

I think the F7 doesn't have enough tension. I think the added G note of the F9 improves it and better matches the G7 that approaches soon after. Just my 2 cents. I'm not so hot at music theory, but thats what I hear. I think the C#dim is ok but I might play that only during the melody; it's as if Django determined the melody from that voice lead of the C->C#dim-->Dm7 although the roots of that chord progression may not have used that C#dim before Django got a hold of it .

gotgenes

I have to agree that the G+ or B+ sounds great instead of the F7. Spot on there.

Here are the chord voicings that explain the purpose of the D#dim/Ebdim as a passing chord to give a line cliché from E down to C# in the bass.

C/E
-
5
5
5
7
-

D#dim (Ebdim)
-
7
5
7
6
-

Dmin7
-
6
5
3
5
-

A9/C#
-
5
4
5
4
-

Alternatively, if you watch Stochelo Rosenberg on the Vienne Biréli DVD, he just plays C6 | C6 A7 | Dmin7 | A7(?) and skips any diminish funny business. Tchavolo Schmitt plays it as C6 | Emin7 A7b9 | Dmin7b9? | A9 using the following voicings.

C6
-
-
2
2
3
-

Emin7
-
8
7
5
7
-

A7b9/Bb (could also be viewed as C#dim/Dbdim)
-
-
6
5
x
6

Dmin7b9/Eb?
-
6
5
7
6
-

A9/C#
-
5
4
5
4
-

A lot of these sound good to me.

BluesBop Harry

For the fourth bar most people I've seen play some sort of B or B7(often with a #9) but F9#11 (tritone sub) works too as does G7 o Gaug, etc.
There are lots of options, you can just stay in C as well... Depends on your taste.
On the sixth measure you're just trying to find a way to get to Dm... so A7, C#dim, Em7b5- A7, Eb9, etc. Work well, they are just a bridge from the I to the II. You can leave em out if you want too.
C#dim is functioning as an A7b9 without the root with that really neat chromatic walk up to D.
Doing Em7-Ebm7 (or Ebdim or Eb9) to get down to Dm is also cool.

There are lots of different ways to play this progression!!

Bones, over F7 you can try a Cm arp C dim or Cm6. You can play off a B7 too (tritone sub) and it should work well whether the rhythm plays B7 or F7, just different colors it depend how used your ears are to these sounds, some gypsy jazzers freak over 7#11 chords but they are bread and butter to bebop players...

M. Horowitz Gypsy Rhythm book has lots of awesome ways to do turnarounds and V-I which you can plug into this tune and many others.

Bones

Cool thanks BBH.

I'll try messing around with B7(b9 #5?) ideas.

BluesBop Harry

That's correct F9 (F A C Eb G) would give you the b5 b7 b9 3 b13 on a B7, (a #5 is the same sound as a b13)
Just take something that sounds "inside" on a B7 and it'll sound "outside" on a 7th chord a tritone away (F7) or viceversa