Of all the good and great tune-smiths of the mid 20th Century,
Richard Rodgers stands out as being one who often missed
opportunities for a strong relationship between the bass line and the
melody. As a result, the chords (and chord symbols) in published
versions of his music are often used simply as a starting place by
serious and thoughtful jazz interpreters. You can play Berlin, Kern,
Gershwin, Porter, Arlen, without modifying the harmony adn get a
repsctable result, but if you do so with Rodgers, you will fall short
of versions that have been established as considerably improved over
his harmonies.
At least that is the way I hear it.
Chuck
On Sep 11, 2005, at 2:05 PM, John Howell wrote:
At 2:00 PM -0700 9/9/05, ThomaStudios wrote:
With this info it now seems like an Fm6, even with the E
suspended. I've seen progressions like this in old, old lead
sheets where the editors could NOT read bass clef, and only saw
the chord shape in the treble.
This is predictable in the music of Richard Rodgers, who I assume
could read bass clef just fine! It was just his way (unless, of
course, the chord symbols were added by his publishers and were not
his in the first place).
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
Chuck Israels
230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com
_______________________________________________
Finale mailing list
[email protected]
http://lists.shsu.edu/mailman/listinfo/finale
