The Jazz Theory Book by SHER Music

Author:SHER Music
Language: eng
Format: epub
Publisher: Sher Music
Published: 1995-03-14T16:00:00+00:00

Figure 14-13

Figure 14-14

Figure 14-15

Figure 14-14 shows the first chord reharmonized as a voicing for Gsus and played in parallel motion for five bars.

Figure 14-15 shows the first chord reharmonized as a voicing for F/F and played in parallel motion for five bars.

Do you like the sound of any of these reharmonizations played in parallel motion? Which ones? Why did I pick F79, Gsus, and F/F? Because I like the sound of those chords. Their function (II, V, or I) is not really important, because identical chords moving in parallel motion have no resolution from one chord to the next.

Figure 14-16 shows the last two bars of Billy Strayhorn’s beautiful ballad “Lush Life.” It’s hard to improve on Billy’s original changes (note the contrary motion between the melody and the roots on the first three chords), but John Coltrane and McCoy Tyner played the parallel V79 chords on the last two bars, as shown in figure 14-17.7

Figure 14-16

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