lydianchromaticconcept.com

http://s248.photobucket.com/albums/gg19 ... alysis.jpg

Comments. criticism, correction welcomed.

This chart shows the horizontal tonic stations..right?
The Con Alma subs start on the Db chord...I know your chart doesn't show that, I just love 'all the subs' that can manifest themselves over this tune. David Baker has a nice tune called 'None a Place May Be' based on ATTYA using changes he got from the 1959 LCC.
The Bill Evans solo piano version has great changes. For instance, one of the choruses, instead of playing E major he plays E 13, a tonic seventh chord.

If you would state your intent...I'd like to make a comment or two.

My intent was to prepare the lead sheep for blowing, as efficiently as possible. So I indicated the HTG tonic stations, and where the prevailing chord demanded it, I used a AMG, CMG or SMG withour changing the "tonic" of the tonic station to facilitate memorization. I did not indicate LYD over every major chord because that's a given, with the option to remain horizontally major still available. ~7th chords can have #4, b9 > ALT, minor +7, b5, b9, etc. Composing is one thing, you can have resources laid out, you have time to think. One 'problem' with a chord to chord vertical analysis of a lead sheet is that it kind of locks in the chords.
Using substitutions on the fly is a horizontal affair, thus again the horizontal 'analysis.' I realize that with practise, the VTG, HTG, and SVG implications may become internalized to the point that one can just play.

Ed Byrnes, Appleton's favorite trombone player, remarked that if you base your improvisation on the melody, it will work with virtually any accompaniment. I am focused on the Koan at the moment.

You're obviously miles ahead of me as a writer/composer, so I welcome your comments.

motherlode wrote:OK...and at what tempo?

Interesting question. qn=120.

The version of All the Things on Luke Gillespie’s CD would blow your mind and I think it’s only one chorus.
http://www.riaxmusic.com/catalog/produc ... ucts_id=44

The mp3 sample was a Haiku 5-7-5

That was extraordinary. So I guess I'll order the cd.

motherlode wrote:I had some fun and played around with your approach most of the day and found it perfectly workable. I thought that mm=120 might be a little slow with so much space, actually mm=160 felt better to me, but thats purely subjective.

I did have two minor considerations: in bars 14-15-16 (leading into the bridge), and bar 36 (the last bar), I felt that something needed to happen to alert the ear that something was about to happen.

The song itself supplied the answer. The melody notes in bars 14-15 are: C D Eb D C | B | over, D7 to Gmaj7. Now this is the classic Cmin with the 9th in the bass -or- D7b9. As you know, the primary scale color is EbLyd, when played from D, its D phygian...my favorite. So I played it every time in that spot.

And in the last bar, I played G7 to C7, or anything to turn the song back.
Like I said, I found your approach, perfectly workable.

Maybe the piano player would need to be clued in so that he might join in the fun.

The lead in to the bridge idea is perfect. Phrygian is likewise my favorite since Sketches of Spain, I've been obsessed with Flamenco. Phrygian scales play themselves. Thanks for the tips,

Well, I'll be oobopshebammed, and thank you. I wasn't aware of that, and it opens up some windows. Although I was raised on Klook, it's the sort of thing a drummer might overloook. (Scat the above at 120 bpm.)
BeBoB. (I think I just finished my tune!)

Bebop is the motherlode.
Bird lives!