The Thrill Is Gone

[Budda]

Here's something fun, that really helps to open up the old Standard, "The Thrill Is Gone".



So, it's a modified 12 Bar Blues Form, with these Changes:

Bm7 Bm7 Bm7 Bm7
Em7 Em7 Bm7 Bm7
GM7 F#7 Bm7 Bm7

As you can see, the real "action" happens over Bars 9 and 10. And this opens the door to some interesting possibilities.

One thing I like to do, is Superimpose one Chord over another. So in Bars 9 and 10, I will often play the ii-V of the GM7 Chord. This yields a cool, Jazzy quality to the proceedings.




Code:
Some different ideas for superimposing various chords over M7 chords.

---------------------------------|------------------------------------------|-
---------------------------------|---------------------------10--13--10/11v-|-
---------------------------------|------------9--12------11-----------------|-
-------------5-4-------7--4v-----|--------10---------12---------------------|-
----------7------5--7------------|----12------------------------------------|-
----5--8-------------------------|------------------------------------------|-
Over GM7 Play it's ii V (Am D7) These resolve to F#7 As In "The Thrill

---------12--15--12-----------------------------------|-----------------------
-----13--------------13--10-------------10/11-10/11v--|-----------------------
-14--------------------------10h11--------------------|-----------------------
------------------------------------12----------------|-----------------------
------------------------------------------------------|-----------------------
------------------------------------------------------|-----------------------
Is Gone" by B.B. King

------------------------------------------|-----------------------------------
----------7b8----------6b7----------------|-----------------------------------
-------5------------7---------------2b3---|-----------------------------------
--5h7----------5h7----------2h4-----------|-----------------------------------
---------------------------------4--------|-----------------------------------
------------------------------------------|-----------------------------------
Thinking Of A "Country" Type Of Feel We Could Add Some 6ths.
And Some 1/2 Step Bends. For these, I'm thinking of those "Faux-Pedal-Steel" types of Bends. So, let all the Notes ring as long as possible.

Now you've really "set-up" the last 2 Measures ( Bars 11 and 12) for some real "Blowing"!
Let me know, if you give it a try.

And if you have any ideas for TTIG share them here. Maybe we can get a lot of cool ideas going.

[boneyguy]

Is it that you've reversed the order of the changes of bars 9 and 10 because typically it would be played GM7 to the F#7.

I played through it the way you've written but I can't make it sound right to my ear. If I play bar 9 and 10 like this F#7 - GM7/F#7 it sounds okay but moving from the #VM7 to the I sounds awkward to me.

[Daddydex]

You are correct Boneyguy!

Dan

[jazztele]

oooh...but what if you played bars 9-10 like this...

| F#7 | Gmaj7(2 beats) A7 (1beat) Bbdim (1beat) |

sure, it ain't "thrill" anymore, but it's a cool minor blues turnaround...

[klasaine]

Cool - both Jeffs.

I like this one ...

| Gmaj7 | Bbmaj7 F#7+9 | Bm7 | % |

'Or'

| Gmaj7 | Gm9 C13 | Bm7 | % |


* That's just a sub for my 1st example and 'usually' that G-9 to C13 would resolve to a Dmaj7 (which of course is a sub for Bm7).

[Budda]

I see the problem. I think.

I should have written out the lines a little more clearly.

Each Line covers both Bars 9 and 10.

Like this:

-|-------------------|------|-|-----------------------------------------------
-|-------------------|------|-|-----------------------------------------------
-|-------------------|------|-|-----------------------------------------------
-|---------5-4-----7-|-4v---|-|-----------------------------------------------
-|-------7-----5-7---|------|-|-----------------------------------------------
-|---5-8-------------|------|-|-----------------------------------------------
     GM7...............F#7

Basically 1/8 Notes above, leading to a Whole Note (F#).



Below, pretty similar. 1/8 Notes leading to a sustained Note (A#).

-|-------------------------|----------|-|-------------------------------------
-|-------------------10-13-|-10/11v---|-|-------------------------------------
-|--------9-12----11-------|----------|-|-------------------------------------
-|-----10------12----------|----------|-|-------------------------------------
-|--12---------------------|----------|-|-------------------------------------
-|-------------------------|----------|-|-------------------------------------
   GM7.......................F#7

Below, I removed a Note for easier timing. So, it's also 1/8 Notes leading into a 1/4 Note and a Dotted 1/2 Note. (In Bar 9, the G String, 10h11 counts as a single 1/8 Note.)

-|-------12-15-------------------|----------------|-|-------------------------
-|----13----------13-10----------|----------------|-|-------------------------
-|-14-------------------10h11----|----------------|-|-------------------------
-|----------------------------12-|-10/11-10/11v---|-|-------------------------
-|-------------------------------|----------------|-|-------------------------
-|-------------------------------|----------------|-|-------------------------
   GM7..............................F#7

Below, let the Notes ring as long as possible. It's basically 1/16 hammer 1/16, 1/16, 1/16 Bent into Dotted 1/8, with a 1/16 Rest. Repeated Rhythm for Beats 3-4.

-|---------------------|-------------|-|--------------------------------------
-|-------7b8-------6b7-|-------------|-|--------------------------------------
-|-----5---------7-----|-------2b3---|-|--------------------------------------
-|-5h7-------5h7-------|-2h4---------|-|--------------------------------------
-|---------------------|-----4-------|-|--------------------------------------
-|---------------------|-------------|-|--------------------------------------
     GM7....................F#7

So, no. I had it GM7 to F#7. It's just that I never resolve the GM7. I play the Am7-D7, and then roll right into the F#7 with Chord Tones of the F#7. But the G never gets it's resolve. Adds to the new vibe, I think.

Hope this makes it easier to follow. Let me know, if not.

Now, some of those Changes you Guys threw up look promising! Back to the Woodshed for me............

[Budda]

Oops! Found another Typo! LOL

I fixed the OP. But, I had reversed the G and F#!

It's correct now:

GM7 F#7 Bm7 Bm7


Man, I bet that post did sound screwy.

Let me know if it makes sense now.

[Tim Bowen]

For the V turnaround in this tune, I like GM9-F#7#9-F#7b9. Fairly stock, but effective. These grips'll do:

----------
-9--10--8-
-11--9--9-
-9---8--8-
-10--9--9-
----------

I also sometimes like *resolving* to a I chord that contains no 3rd, such as this A/B shape, or B11no3, or whatever you want to call it. You can easily get the m3 in there as desired with a barre across the fifth fret; the m3 (D) lives on the A string. However, I like the ambiguous nature of the unresolved resolution...! The trick here is to let that chord hang for just a little while, and then quickly bring the listener's ear "back home" with some sort of Bm voicing that definitely does contain a minor third.

-(0)--
--5--
--6--
--7--
-----
--7--

[klasaine]

Along the lines of what you just mentioned Tim, I too like to sort of not resolve to im right away. A lot of times I'll hang on a IV chord (post turnaround) voiced like this ...

E13

----------x-------------
----------5------------
----------6-----------
----------6-----------
----------5----------
----------x-----------

Voiced this way, with the 7th on the bottom, it won't get in the way of the bass hitting a B. And, it can be thought of as sort of a rootless Bm11 thing anyway.
(It doesn't just have to be on a blues either - any minor tune that has a i chord for the last two bars.)
* Another one I stole from a piano player *

[Tim Bowen]

Ken, I've used that grip a bunch, but always as a dominant extension (Wynton Kelly got tons of mileage out of it as a piano voicing) - but I'd never made this connection. That makes perfect sense, thanks.

I also like to treat I and IV minor chords as separate little dorian entities. So obviously for B minor, the parent key is A. A stock move is to play ii - iii - IV (over either or both of the actual I and IV minors). Typically I'd treat ii and iii as stock min7 voicings, but I like to dress up the IV just a tad; I like 1 - 7 - 9 - 5, low to high; or, as viewed as a Bm chord, b3 - 9 - 11 - b7.

----
-10-
--9-
-11-
----
-10-

[jazztele]

cool ideas guys.

i learned about some of this "suspended resolution" stuff from, you guessed it, a piano player. he was also big into the idea guitarists think of T-Bone automatically with--starting a half step off key with a dominant chord in a "standard" blues.

though, getting a little off track, my buddy and mentor joe (now passed) would have done it like this, i think...

bars 9-12, 1 beat per chord...

Gmaj: 7x578x
Gmaj7: 7x577x
G6/A: 5x575x
A7sus: 5x577x

C#m7b5: x4545x
C#m7b5: 3x242x
F#7+5: 2x233x
F#7: 2x235x

Bm6: 7x677x
F#7#9: xx4355
C#7#9: x4345x
C9: x3233x

Bm/maj7: x2032x (whole bar, let sustain, and then back to the i)

yeah, that's fun...you can also take what i have for bar 11, make it two beats per chord, and span that progresion for bar 11 and 12...then we get back to the i as the m/maj7....ooh...

[Telenator]

Has anyone tried the turn-a-round:

//// = beats

G9 //// F#7#9 // F#7b9 // Bm

The quick change from the #9 to the b9 is cool on the F# chord.

[Budda]

Keep it coming! Good ideas floating around this place.

[klasaine]

Originally Posted by jazztele

my buddy and mentor joe (now passed) would have done it like this, i think...

bars 9-12, 1 beat per chord...

Gmaj: 7x578x
Gmaj7: 7x577x
G6/A: 5x575x
A7sus: 5x577x

C#m7b5: x4545x
C#m7b5: 3x242x
F#7+5: 2x233x
F#7: 2x235x

Bm6: 7x677x
F#7#9: xx4355
C#7#9: x4345x
C9: x3233x

Bm/maj7: x2032x (whole bar, let sustain, and then back to the i)

NICE! I'm takin' that one.

[koen]

Originally Posted by Budda

-|-------------------|------|-|-----------------------------------------------
-|-------------------|------|-|-----------------------------------------------
-|-------------------|------|-|-----------------------------------------------
-|---------5-4-----7-|-4v---|-|-----------------------------------------------
-|-------7-----5-7---|------|-|-----------------------------------------------
-|---5-8-------------|------|-|-----------------------------------------------

I'm curious to see how people finger this (left hand). When you play the 5-4 on the D string do you slide down with your index, or play the G with your middle finger and then the F# with the index? And then, the two notes on the 7th position, both with the ringfinger (small barre) or ringfinger for the E and then the pinky for the B?

[Budda]

Here's how I finger that Lick: I P R I I M M M I

I= Index (Nose Picker)
M= Middle (Traffic Finger)
R= Ring (Slave Finger)
P= Pinky (Ear Cleaner)

Yep, 3 Notes in a row with my Middle Finger. :)

[Budda]

Originally Posted by boneyguy

Is it that you've reversed the order of the changes of bars 9 and 10 because typically it would be played GM7 to the F#7.

I played through it the way you've written but I can't make it sound right to my ear. If I play bar 9 and 10 like this F#7 - GM7/F#7 it sounds okay but moving from the #VM7 to the I sounds awkward to me.

So, now that we've corrected my Chart, did you try the Lines I posted? Any use for you? Or, did it spark any ideas?