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Lol, the more I hear stuff, the better my day gets! So true.
By the way, I was just listening to night and day by Django. Has anybody noticed how Django often does not pull off a clean idea, or even finish it, but because he keeps it in time it works? It's like you can hear his personality more.
@Rip yes, that's what I meant.
(My first chord on Night and day would be Bbmaj7 😉.)
Nice choice! It gives it a "just the 2 of us" vibe.
Cole Porter's choice, I think:
I need to get out more😂
To return to that half-diminished seventh chord again for a minute... In orchestral music that chord is known as the "tristan chord", after it's use in the intro of "Tristan and Isolde" and in the Tristan leitmotif throughout the opera. It's really interesting to see how influential this single chord was in orchestral music in the years to follow and how much written analysis there is about it. There's a lot to music!
It creates a interesting tension.
Bebop Pianist/Teacher Barry Harris mentions that too in videos of him.
You can also say that a minor chord with the 6th in the bass is just a half diminished chord. I find it a lot easier to think of it that way. I appreciate that the other way is more traditional and I think that's how Monk thought of it. And it makes the the minor ii half diminished - V progression into a iv-6 Vb9 which is interesting but for the life of me I can't figure out any real reason that thinking of a half diminished chord as a minor 6th chord makes anything easier soloing wise. Other than I guess it gets you off the root and you can use your minor arpeggios on it.
But it functions generally like the major II in a Major II V as far as I can see and thinking of them as parallel to each other is way less confusing to me.
Also I tried that E chord from earlier. Not a chord actually. Just a bunch of E's. Not comfortable at all but doable. Also pointless. Only possibly in a classical position I think.
The chord messed up my hair.