| EbMaj7 | EbMaj7 Db7 | CMaj7 | CMaj7 Bb7 | In fact, the extra chord is often played toward the end of the measure:
Note that those added dominant chords can be played over the whole measure or anywhere during that measure. Similarly, a Bb7 may be played in the measure preceding EbMaj7 (the second line). (this will not work so well with the melody, and should be preferably used during solos.)Īgain, instead of staying with EbMaj7 for 2 measures, we may create more movement by adding either a G7 during the second measure (V7 of C) or a Db7 (the Tritone Sub of G7). Some (or all) of those measures may be turned into a ii-V: The G7 chord is approached by an ascending whole step, instead of a descending 1/2 step from AbMaj7. It is not that different harmonically, but the root movement is interesting. | AbMaj7 | G7 | CMaj7 (Dm7 | Em7 Fdim7) ||Īnother substitution for the Dm7(b5) is Fm7(9). Here's another way to move diatonically up toward the F#m7(b5):
Those optional chords are in parentheses. Instead of staying on the CMaj for 2 measures, we should play an Altered A7 at the end of the first line, and maybe a diatonic progression at the end of the second line- which would bring us closer to the upcoming F#m7(b5). In that case, both the Ab+Maj7 and the Dm7(b5) chords can be seen as coming from F Melodic minor. The reasoning here is that AbMaj7 is very close to a Dm7(b5) with Ab in the bass.įor more tension, that AbMaj7 may even be played as an Ab+Maj7. Here are the chord changes usually written in the Real Books for the first 8 measures:Ī nice substitution for the Dm7(b5) is an AbMaj7, either both times or just once. There can be a few different ways to play the changes. Since most people play it in C (the Real Book key…) we will examine it in that key. "Night and Day" is either played in Eb or C.
"Night And Day" the chord changes - chords - chord changes - jazz - guitar - Bruno Pelletier
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