#1
Super Kid requested this too, and it's simple so I figured I'd bang it out real quick.

With an emphasis on quick because:

1. The tune has like 5 chords.

2. I hate Pat Metheny.

Here's the track (which you've all probably heard).

https://www.youtube.com/watch?v=YiKt8DxBpeg

Here's the chart.




Again, I'm going to go chord by chord. We are in the key of D major.

The A Section

Gmaj7

IV.

We start on the IV chord. Note the #11 in the melody, really cementing the fact that this is IV in D, not I in G.

Bb/A

bVImaj(#11)

Note the #11 in the melody, and maj7 in bass. We can still have a 7 in the bass without changing the chord root (one you go to 9 in the bass all bets are off). Therefore, we can call this chord bVImaj(#11), a totally logical and valid chord in the key of D major.

P.S. I see many people argue that the A bass makes this a very goofy V chord, but that'd give you these pitches. (A Bb D E F) Asus4 (b9 b13) ????

Uhh..... I don't think so. It's Bbmaj7 #11.

The bass note only becomes the chord root if it is a number ABOVE 7.

Note the "fake" V-I root motion due to the A in the bass.

Moving on.

D(9)

I

And on to the I chord. Note, this is D(add9) here (stupid Real Book), not D9.

D/C

V7/IV.

A simple D7 with the 7 in the bass. Used to take us back to Gmaj7. But first a quick pit stop...

The endings:

We then move back to Bbmaj7 (bVImaj7) bringing us back around to the Gmaj7 chord. Notice this time that the A is not in the bass, removing the "fake" V-I root motion from before and smoothing out the turnaround.

The G/A chord is actually V9sus4, not a G chord with 9 in the bass. More on this below.

The second ending is a simple IV-I in D major.

That's the entire A Section. You can improvise over the whole thing in D major with two exceptions. Use Bb Lydian over the Bb chords, and some form of D dominant sound over the D7. You can also experiment with A dominant sounds over the Bb/A.

The Bridge

Looks MUCH harder than it actually is.

G/A

V9sus4

This is just an A7 chord with a 7, 9, and 11. Mixolydian time.

F/G

IV9sus4

A G7 with 7, 9, and 11. Same deal.

This is also an honest to goodness IV7, not a V7/X. It moves from diatonic to diatonic root without dominant function.

What we have experienced with these two harmonies are a special kind of "slash" chord known as a hybrid voicing . Hybrid voicings occur when the note in the bass is a chord tone other than 1, 3, 5, or 7. In these cases, the 2nd degree of each chord is in the bass.

The bass note of a hybrid voicing IS the root. Hence, these are A and G chords, not G and F chords, and are analyzed as such.

A/E

V

Just a V chord with the 5 in the bass. Nothing special here; don't let the preceding hybrid voicings throw you off. A mixolydian AKA D major works perfect here.

The bassline is to set us up in an ascending motion back to the A section.

D/F#

I

The I chord again, leading us back around to the IVmaj7 at the beginning. Straight D major.

Just like the Coda, which is a blatant V7-I, In D major.

That's it. That's the whole thing. Let's discuss.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#3
Yeah, they are a great tool.

The most common hybrid is probably maj7/2.

Ex. Fmaj7/G, Bbmaj7/C, etc.

It shows up all the time in pop as is by far the most common way of expressing the 13sus4 sound.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp
#4
nice!!!

these are the main sounds i would use during the solo:

Gmaj7 - D major scale, B minor pentatonic (starting the minor pent from the third of the major chord gives us all the nice colors of the chord)

Bb/A - Bb lydian, A minor pentatonic (start the pent an half step below a maj chord for a lydian sound)


D - i would play the triad notes for a very bright sound

D/C - D mixo

Bb/A - Bb lydian

G/A - this is a A7 so A mixolydian or F# - pent (= notes of the melody, this is a minor pentatonic starting on the third of the chord it is supposed to resolve to, D major)

G/B and D - D major

B section:
G/A - A mixo, F# minor pent
F/G - G mixo, E minor pent

A/E - A mixo, F# minor pent
D/F# - D major, F# minor pent


Cant think of anything else right now, but these would be my basic note choices
#5
Total agreement.

I'd call it C major pent, not A minor pent though, looks a bit neater and the Lydian connection is more apparent.
"There are two styles of music. Good music and bad music." -Duke Ellington

"If you really think about it, the guitar is a pointless instrument." - Robert Fripp