Thanks Bob...that's a neat and tidy little voicing I'd overlooked for sure.....funny I sometimes use as a passing rundown..say F...Fmaj7...F6..etc but for some reason never saw it as a stand alone F6/Dmin7...excellent idea
Not sure it works as well as original choices in Beyond the Sea but certainly helps during the modulation to A part
And most definitely sounds better voicings when used in Blue Moon...
Keep em coming captain...
In fact you've prompted me to ask this....say in the tune Smile...C..Cmaj7....C6(Emin7 I play with your voicing)...to Ebdim.....can you think of an easily accessible but still smooth voicing for the Ebdim...rather than the big leap that'll be needed to resolve to the Dmin (I think) ...doh...of course its no longer a big leap if I play your F6 voice instead...
Cheers for input... Interesting stuff
Dont get a 6th chord mixed up with a min7th, their function is completely different; sure you can get get away with it. The min7ths in BTS or are pretty much standard with the bands I play with, what youre getting is a nice moving line within the chords, stay with it a little longer IMO.
Re Smile, because of the above Id stay with the C6 and play the 6th in the RH along with the Maj7 for that pleasing sunny effect.
Re the big Dim leap, you have a few choices, but Id avoid a large jump just to be pedantic about it, and play a Csharp Dim instead. Youre not getting that big bass shift but a gently rising one instead. Grim/C sharp. 2nd on the chord, and 3rd on the Counterbass C sharp. This is a standard sequence used across a million + songs..
On a personal note, I really dislike the term Counterbass, its an Accordion only term and IMO should be Mediant instead, a standard musical term understood and used by many. I have tested this by the way.