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Posts: 28
Reply with quote  #1 
I have a newbie question
The last few days I have been practicing on "modern Chord Progression" on the I-vi-ii-V progressions. I was looking for songs which made explicit use of this progression and I read somewhere that the first measures in My Foolish Heart was a good example. If you listen to Ben E. Kings version on youtube, you can clearly hear this progression (I think)

However when I look at Aebersold's version it says:
Bbmaj7 - Ebmaj7 - Dm7 - G7 or I-IV-iii-VI (?)

I was wondering: What is the theory behind this substitution? Or am I completely wrong?
Pardon my english!

PS Did Ted do an arrangement of this song?

Posts: 28
Reply with quote  #2 
Hmmm... I guess I found the beginning of an answer here

The original chord progression consists of the “ice cream changes” (“Blue Moon,” “Heart and Soul,” “Again,” etc.). Because of the arpeggiated nature of the melody, however, there are ample opportunities to use interesting substitutions and chord extensions. One example, used frequently by modern players, is to use C maj7 - F maj9 - Em11 - A7b9 in the first two measures rather than the original C - Am (I - vi).


Posts: 1,773
Reply with quote  #3 
Hi Fabius,
Ted did not write up an arrangement of "My Foolish Heart", but he did write up a page during a lesson for accompaniment chords for it. 
If it's okay with Barbara, I could post it here in a few days, combining Ted's grid boxes with the lead sheet.


Posts: 940
Reply with quote  #4 
Hi Paul, It's fine with me, thank you, as always, for doing these compilations.  Barbara

Barbara Franklin

Posts: 1,773
Reply with quote  #5 
Hi Fabius,
Attached is both Ted's Comping pages for "My Foolish Heart" and my compilation pages, which combines Ted's chord diagrams along with standard notation and lyrics.

This is not a chord-melody arrangement, but an accompaniment study...however, you can use these chord forms as a basis for constructing a chord-melody arrangement by modifying them slightly.  If you've played a few of Ted's arrangements it isn't hard to imagine how he might fit the melody in around these chord forms.

A few words about the comping study:

  • This was a page for a student, and Ted left some of the chord names with just the letter, not the chord "flavor" or "color".  The student had penciled these in, and you can see some of the chords with faint writing.
  • I removed Ted's slash marks on the chords, since it wasn't necessary to indicate the measure breaks after aligning the chords in the score. (Except p.2, line 3.)
  • For both the Bb13 chords on p.1, line 3, you'll need to use the first-finger slant technique to get the top 2 strings (unless you use your thumb for the 6th string note).  With the first-finger slant method you should be able sustain the 6th, 4th, and 1st strings of the Bb13 chord and just swap strings for fingers 1 and 2 to get the Bb13(b9b5) chord.
  • The A11(b5) on p.2, line 2 is an interesting name for that me it sounds like Ebmaj7(#11), but I guess Ted was thinking V of...the next chord.  That passage  - A11(b5) - D7(b9#5) - Gm11(maj7) - G13 is very rich sounding. I love it!
  • The Gm(add9) chord on p.2, line 3 (first chord on that line) is a fantastic fingering.  As you can see, Ted wrote the fingerings on the chord.  Again, you need to use the first-finger slant technique.  This is a new fingering for me...and it's pretty easy to grab, despite it's look and spread.  A new friend for me.
  • The Fm11 on p.2, line 3 originally had an asterisk next to it.  I removed it here, because on Ted's original page the comment that accompanied the asterisk was missing.  I believe it was at the bottom of the page, but it was cut off when it was scanned.  I'm guessing it had something to do with the fact that the chord is F minor, but the melody contains an A-natural note, which is the major 3rd.  Nevertheless, this voicing works fine.
  • The Em9(b5) on p.2, line 3 is a pretty tough chord to finger.  I'm guessing that Ted intended the little finger to do a double-stop for strings 2 and 3.  This is pretty rough for me, but maybe you'll find it easier.
  • I needed to shrink the chords on p.2, line 4 in order to fit them without going to a third page. 
  • If you decide to stay in the key of Bb, then don't use the turnaround at the end of p.2, since that is intended for a modulation to the key of B (up a 1/2 step).
  • The melody on the lead-sheet is slightly different from what I'm used to for this song.  I learned it from the old Real Book (which doesn't include lyrics).  The Real Book's melody line and the lyrics didn't exactly fit together, so I needed to refer to a differnt chart, which had slight melodic and rhythmic variations (which are probably more accurate than the Real Book 1st edition).
Hope you enjoy these pages.

Files have been moved to:


Posts: 66
Reply with quote  #6 
Paul Does It Again !!!
Thanks very much

M Semmler

Posts: 209
Reply with quote  #7 

Perfect for the long weekend.  Thanks again for all of your great work, Paul. 


Posts: 86
Reply with quote  #8 
Thanks for sharing you're doing a great job

Posts: 28
Reply with quote  #9 
Thank you Monsieur Paul for sharing and for your info.
Beautiful chords, very challenging!


Posts: 2
Reply with quote  #10 
This is Josep from Spain I want to say thank you to all the people that is doing that amacing work .
My resoect and love for all of you.
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