Alone together "problems"

(15 posts)

  1. Sandemose
    Member

    Hey guys,

    Ive been working with Alone together for a while. Its not sounding to good, haha. Ive posted this question on a another forum, but I want to check with you guys here as well.

    1. For the Dm, Emb5-A7 part I go for the D harmonic minor. Nothing strange with that.
    2. But with Bm7, E7, Gm7, C7 what do you guys do with that? I cant get it to fit with each other. Ive been practicing only playing chord tones to describe the transition between them. Doesnt sound to hip (my bad). Ive also been trying to treat it with a Gmajor7 arpeggio to Gm-maj7. It kinda works.

    Any ideas? Im getting depressed over here :(

    Best, Sandemose

    • Posted 1 year ago
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  2. lacroix
    Member

    Hi Sandamose,

    this is just an out-of-the-box idea: if you live in Sweden just turn on Spotify, type "alone together" and listen.
    You'll find countless hits of lesser known versions of that tune.

    In my view that's an amazing tool.

    • Posted 1 year ago
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  3. Sandemose
    Member

    lacroix; yo, thanks for the tip. I actually live in Sweden. How did you know? Either way, I found Charlie Haden play it. Really good. Thanks!

    Best, Sandemose

    • Posted 1 year ago
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  4. Poparad
    Member

    I just think ii-V in A, ii-V in F

    • Posted 1 year ago
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  5. Sandemose
    Member

    Poparad: Excactly what I was looking for! Great move, I love how the A major arpeggio describe the Bm11/E9 sequence. Thank you so much, it helped alot!

    Best, Sandemose

    • Posted 1 year ago
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  6. thelonious77
    Member

    Hey
    a good way to practice hearing changes is to isolate the chords (one bar each for ex)
    play half notes or quarter notes and try to voice lead a melody throug the changes
    then you can play the bass and a melody note and goto the next available tone without changing direction
    then change direction at will
    play on only one string using the same concept
    then do the same using arpegios(or any motif) from the right chord scale. play one on gminor then goup and keepthesame concept playing the next available arp on b minor
    and so on ( look for what changes and what stays the same)
    hope this is clear!
    all the best

    • Posted 1 year ago
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  7. Anonymous

    to lacroix: "if you live in Sweden just turn on Spotify, type "alone together" and listen." <--- is that any TV shows or what? is it available on youtube?
    to Sandemose:
    if you go through Bm7 --> E7 - Gm7---> C7 you can play, first - b dorian(/melodic is so damn good I think), next on E7 you can play a tritone substitution (any scale matching to Bb7, best I think is Bb alt. <-- which give you nice 'minor third' sounding passing tone to the Gm7)
    Next, on Gm7 - G melodic minor (give you E and F# which are 4th. and 5th. of next tritone substitution - B7). Clearly - on the dominant just play tritone subst. ;] BUT - if you play on B7 - Bmaj pentatonic(!) it would sound great. Just my opinion. And of course resolve it.
    Regards!

    • Posted 1 year ago
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  8. Poparad
    Member

    Well, I didn't mean that I play an Amaj arp over the Bm7-E7 thing. I meant that it's just a ii-V in the key of A, so I either outline the Bm7 and E7 chords, or I use the A major scale to play something more scalar and less of an arpeggio.

    • Posted 1 year ago
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  9. thelonious77
    Member

    You could also think of it this way:

    B- E7 is contained in the G7 family
    G7 Bb7 Db7 E7
    B- E7 is a sub for any of the dom chords in the family going to the C7 family:
    C7 Eb7 Gb7 A7

    So really (in function) G7 going to C7 or B-7 going to Bb -7 / Eb 7(G-7b5type change) going to F or B-toBb 7 to Db-7 to Gb 7 To F ........
    A lot of possibilities!!!!!!

    • Posted 1 year ago
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  10. Anonymous

    Hi,
    In my point of view, the song is in F or D- . So B- E7 must go to A- whitch is the III of major tonality without resolving. But usualy we see this progression #IV-7b5/VII7/III- . So it's SubDominant/Dominant sec/Tonique.
    And don't you know this progression? #IV-7b5/VII7/II/V It's the four first bars of a wellknown standard!!

    But in alone together, the F# on the B- makes us go in A tonality which is far from F. So play the notes which are not in F tonality to sound this progression clean:) you can think Bb instead of G- :)

    Sorry for my bad english, hope you'll catch what I say.

    • Posted 1 year ago
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  11. lacroix
    Member

    @soczez: Spotify is a digital platform that lets you access a huge library of music. If you live in Poland it may be available in your country. Just google it and request an invitation if you don't want to subscribe to a premium account.

    • Posted 1 year ago
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  12. JRC
    Member

    Try "Ron Carter (with Jim Hall) Progression" on that mesure:
    B-7 E7 Bbm7 Ebm7 going to FMaj7.

    • Posted 1 year ago
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  13. JRC
    Member

    Sorry:
    B-7 E7 Bb-7 Eb7

    • Posted 1 year ago
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  14. colinmanko
    Member

    The way I approach it is like this- E7b9 = f dim = ab dim = G7b9
    So I just play, well not all the time of course, the bm7 E7 as a V of C7, because gm7 and C7 are interchangeable

    • Posted 1 year ago
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  15. silverwater
    Member

    @soczez: In my opinion, playing Bb Alt. over E7 chord wouldn't really give you a tritone substitution sound. It's just E mixolydian b7. You'd have to think more along the lines of E Alt; it contains more of the Bb7 sound. And do you really play a B7 or B Maj Pentatonic over a C7 chord? That seems like a pretty bold choice :-0

    • Posted 1 year ago
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