Video

è davvero forte , noi lo possiamo testimoniare

Grazie di cuore ♥️

Very Thanks

these are precisely the original chords of the song

MI FA PIACERE

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BUO DIVERTIMENTO

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Grazie Daniele

GRAZIE MILLE

Grazie mille

Ciao Daniele , grazie di cuore

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GRAZIE MILLE

grazie mille

Very Thanks

❤️

👌

Very good , thanks

grazie

Thanks

Grazie tutto merito di Pino

Che ci faccio qua',🤔 che palle, che noia questi grandi capolavori dell'illustre, cover interpretata magnificamente al femminile , complimenti a tutti.🙏🎼 Però adesso torno alla merda che si sente oggi. Spero che si sia capita l'ironia.

@@jeanmarccarboni5190 grazie. Nel nostro piccolo facciamo quello che possiamo

@@well175 e nel vostro "piccolo" che siete grandi , ho sentito nei suoni, nel canto, cuore e anima, 🙏🎼

@@jeanmarccarboni5190 grazie mille 🙏

grazie

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Grazie mille le critiche negative son sempre da apprezzare. A molti è piaciuto però fidati.

❤

everyone has their own tastes, others have commented positively, long live jazz and the freedom to play it

Grazie mille

explain better which chords are wrong?

​@@well175 Well its commonly noted that the Bbm7 to Eb7 was a music theorists way of adding 'sense' and 'logic' to just going from Ebmaj7 to Ebm7 and then Ab7 which is what I and many other people hear on the record. The version in your video has less tonal centres and this was seen as more correct back in the early version of real books and transcribing culture. Many other transcriptions and backing tracks on YT will show this. Ebmaj7 Ebm7 Ab7 Fm7 (sometimes Abmaj7) Abm7 Db7 Gm7 (somtimes Ebmaj7/G) F#m7 (B7) Fm7 Bb7 repeat and then part B has the quick descent at the end obviously. I've written sometimes but the two options have the same harmonic gravity and movement really. Fm11 being Abmaj7 etc. There's a video out there explaining this as the Miles version of this song is a step towards modal jazz. Can simply be alternating Ebmaj then Ebm if you wish, looking at the scales (with a bar of Emaj). I cant remember exactly but they made a funny remark about why it might be called four because the tonal centres always move in fourths or something? But this is why the 2-5 in the video here doesnt really suit that idea. The miles version is seemingly too erratic. But not that it is anything to do with theory anyway, thats just how people like to dissect it. I tried both sets of chords and you can tell from the first Ebm7 that it fits much better. Not to mention how awkward the Eb7 sounds. I would recommend trying the other transcriptions.

a thousand thanks

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Thanks