Actually, it’s two versions of the same ditty – in this case, the Harry Warren example we’ve been working with so far. You’ll remember the first version in which we simply used the guide tone lines. Here’s what it looks like:
And here’s what it sounds like.
It’s not bad – but it’s not great.
Now, we’re going to use principles of counterpoint to spice it up. Listen to it here.
Notice that we were able to work in that F7(b9) chord (highlighted) just before bringing it home – and do it in a very smooth manner. Had we simply used the guide tone lines as we did in the first example, it would have sounded a bit…well, “clunky.”
The point here is that guide tone lines are simply that – “guide-lines.” They are but one ingredient in building an arrangement, albeit a basic one.
If there are any specific songs you would like to see analyzed in this manner, please leave a comment and tell me which ones you’d like to see featured.