You're right, Doc; I have the bad habit of always looking for a solution that suits the most people and tries to be useful.
Maybe in this case there is no solution... I wouldn't know what to work on or for what purpose
Having a clear line and "little" work during the first experience, I think it could be helpful. So that at least we have a common starting point.
Alternatively, we can take the first bars of Laura's standard, already proposed by someone... in the early afternoon I will try to make a parallel proposal and we'll see where we stand
Alternatively, we could take the first measures of Laura's standard, already suggested by someone... in the early afternoon I will try to make a parallel proposal and we can see where we stand
I would start from these 8 bars; the first thing I invite you to do (Doc or whoever feels like it) is to find a simple chord progression for the less experienced. Let's discuss, what do you propose?
Once this aspect is settled, I would give the go-ahead to the arrangement: whoever wants to can develop the proposed chord progression, otherwise they will use alternatives with the goal of eventually proposing all 8 bars complete and "arranged" ... hihi.
At least one version, what instrumentation do you suggest? Is pf [piano] or something else okay?
To me both seem interesting, of course creating a chord sequence with a precise harmonic sense here is not at all simple...
More specifically, in Bit's proposal there is a B∆ that clashes a bit with the minor seventh of the melody; the A in the second measure is a bit risky on the E7, but not too much; the C-7 F7 solution is interesting; the F#/Gb in measure 6 carries the chord halfway through the measure towards an Aø; finally, in the last measure there is still the perfect fourth on the dominant seventh chord which could collide with the major third, then the movement of the seventh resolving upwards is a bit difficult.
Reading JazzMania's harmonization with the symbols in this order, however, caused me a slight bipolar disturbance ;-)
I think starting from the end is a good idea; the sound of C∆#5 is curious; in fact, you could also have used C7 and resolved cheerfully to F∆, even if it might be more predictable;
some passages came out similar to me as well; I like the idea of the D-7 / D7; measure 6 is a bit unsettling; the thing that doesn't convince me much, however, is the ending: these two altered ninths resolving on the tonic, in my opinion, would be more suitable for a descending movement (like Eb, Db, C).
