Take the A Train: Endings

A well-conceived ending is a classy addition to the arrangment of a tune. An ending brings the piece to a close -- melodically, harmonically, rhythmically -- and in a way that suits the character of the piece. You should have several ideas in your bag. Here are few for your consideration: Signature Ending || Lydian Stack Chord || Turnaround ||


Signature Ending

You cannot go wrong if you play the signature ending. In fact, it is perfectly legitimate to use this kind of ending in other tunes as well.

Take the A Train endings

Note: The final chord is called a stinger. A C6,9 chord is shown, but feel free to substitute any I chord variant that feels right. For example, why not a very Bluesy C7,#9 stinger?

What other variations can you come up with?

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Lydian Stack Chord

A common idea is to substitute a more colorful variant of the IM7 chord. The highly dissonant and colorful Lydian stack sounds best if you arpeggiate the notes and play the upper structures (9,#11,13) in the higher registers.

Take the A Train endings

Experiment with various voicings and arpeggiations and make it your own!

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Turnaround

The idea is to extend the final CM7 by playing a full turnaround instead.

Turnaround Pattern #1

Take the A Train endings

Chords in Key of C:
CM7
A7
Dm7
G7
Roman Numeral Analysis:
IM7
V7/ii
ii7
V7
Solfege Analysis:
DoM7
La7
Re-7
So7

 

Turnaround Pattern #2

The C#dim7 chord is functionally equivalent to the A7 chord. Both are secondary dominants that progress to the ii chord:

endings

Chords in Key of C:
CM7
C#°7
Dm7
G7
Roman Numeral Analysis:
IM7
vii°7/ii
ii7
V7
Solfege Analysis:
DoM7
Di°7
Re-7
So7

Experiment. Play ideas, not notes. Find your own voice. Make each idea your own!

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