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Author:  Gary Myers Posted:  12/18/2007; 10:55:46 PM Topic:  At Last Msg#:  5375 (in response to 2335) Prev/Next:  5374/5376 Reads:  301

1. I prefer a 6th to a maj7 on bar 1 (and in a couple of other spots) where the melody is a long "do". I think nearly all singers (myself included) would not like the minor 2nd disonance with a note they are holding.

2. The spelled out C7alt (in a few places) is missing the E note,  one of the most important notes in the chord. (In fact the spelled out chord turns out to be Abadd9/C).

3. I dislike the "alt" designation anyway, as I've never understood it to pertain to a specific alteration. I don't recall even seeing it used except in very old fake books, which are often incomplete and/or inaccurate. Since the alterations shown in that specific chord are Ab and Eb, why not call it C7+ (#9) ?

4. The 2 spots in the bridge (or B section) that show Gm-G7 are normally Dm7-G7. While the former does work, I've never heard it played that way, and it forsakes the ii-V-I that is normally there. The bridge is basically: ii-V-I, then ii-V-i in the key of iii, then ii-V-I in the key of V. For the last 1/2 of the bridge, I like: Dm7-G7 | Cmaj7 - C#dim | Dm7- G7 | Gm7-C7 ||

• Re: At Last, David Luebbert, 12/18/2007; 11:36:24 PM
  • Re: At Last, Gary Myers, 1/2/2008; 6:42:34 PM

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