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"If it walks like a duck and quacks like a duck..."
I'm sure he was just looking for an unusual chord, and probably had heard a tri-tone substitution in some context or other and just used the idea in a naive way.
Same thing with the bridge of "From Me To You"... I think he actually swiped that chord progression from "Consider Yourself at Home" from the musical "Oliver", either consciously or not...
Try singing this instead of "I've got arms that long to hold you..." and you'll find it fits perfectly:
If it should chance to be we should see
Some harder days, empty larder days, why grouse?
Always a chance we'll meet somebody to foot the bill
Then the drinks are on the house!
http://m.youtube.com/#/watch?v=gatYuXwN ... atYuXwNOdY
Will
PS Apologies for repeatedly hijacking every thread to Beatlesville... Please pardon an old geezer who was 13 years old in 1964...
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
pas encore, j'erre toujours.
Some of the changes they came up with are really fun to improvise over.
Will, I get it, you get it. but some who's knowledge is at a different level might become confused.
So I guess an explanation is in order. Using a V I in C major the V is G7
G7 notes are G B D F .. the tritone is formed by the B and F .... Db notes are Db F Ab B and the tritone is formed by F and B
So you can see that the in tritone substitution the notes forming the tritones which gives the chord it's character and tension, the 3 and the 7 remain the same but are inverted still remaining the 3 and b7.
The other chord tones are a semi away one up one down.
The reason is is called a tritone substitution is that the key notes that create the tension, the two notes of the tritone are the same.
Would love to hear some of that knowledge, Jay.
pas encore, j'erre toujours.
Well, the problem is that when you stop and think about it, the only tunes in our culture that pretty much everyone is guaranteed to know are
1) Christmas carols
2) The Beatles
3) Elvis greatest hits (...maybe?)
4) Children's songs (London Bridge, Row row row your boat, Frere Jacques, etc)
5) Maybe I'm missing something else...?
This makes life tougher for us jazz players because what used to be called "standards" are no longer standards for the culture as a whole.
And when you take your axe to a party to play with a bunch of folks, alas, you're usually forced to the lowest common denominator.
Most of these "new standards" aren't really ideal for playing jazz on, however you can almost get away with it sometimes...
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."
I almost laughed, not out of arrogance (I hope), but literally because that was such an incongruity...I don't know whether it's because this is the stuff I listen to so much, or some other cultural inheritance I've not yet recognized on some conscious level, but the idea of this tune (and the others we'd been playing, nothing arcane, just standards, as you aptly observed) as some sort of obscure, rarefied piece just struck me oddly.
On the other hand, as it was Beatles from then on (led by our friend who made the earlier comment), I really was silent...had no vocabulary on the fly to work from...and that's a deficit, I recognize. Celtic would be the other thing I'd love to learn. After GJ, flamenco and classical guitar. Ugh....one short life, started pretty late in the game, to try.
But I really digress, sorry. Appreciate your thoughts throughout this thread, Will.
pas encore, j'erre toujours.
Edit: BTW, the reason I made this arrangement was due to the conversation about Swing 8ths in the other thread. I wanted to work on some more bossas to practice straight eights.
In Recado Bossa Nova the actual changes in the second ending of the lead sheet are Eb9 to A7 to Dm, the Eb being the tritone of the A7.
The melody uses a plain Eb7 arp.
Here's an arrangement that I lifted from Paulus Schafer and Tim Kliphuis. Note: ignore the part that says '2nd time' in the 3rd line. Forgot to erase that and the ghost noter before I scanned it. Also, the 4th string 7th fret in that measure is 1st time only.
It's pretty much how they play it. Not the straight melody, but with embellishments.
The Eb9 is in the second ending, 7th line of sheet 1.
Here's a link to a page with the mp3 and a lead sheet.
http://www.djangoinjune.com/For_musicia ... p2012.html
I don't know how much it costs, but it sure is a nice thing to have. Very convenient, too, because whatever tab you enter in the program automatically writes out on the treble clef for you. I realize now whenever I see an instruction manual like the Givone books that it was probably done using Guitar Pro.
Christmas is still about nine months away, but maybe soon you can start dropping your family some hints about birthday presents.
Edgar Degas: "Only when he no longer knows what he is doing does the painter do good things.... To draw, you must close your eyes and sing."
Georges Braque: "In art there is only one thing that counts: the bit that can’t be explained."