So, right now in the Berklee Jazz Improv course, we are analyzing a backing track for Keith Jarrett's "Memories of Tomorrow", also known as Köln part II, so I'm told.

We have a lead sheet and chord symbols.

In the 5th measure the chords move from F to F#o to C/G in the 6th measure.

In other parts of this particular chart, the 7th chords are written out explicitly, eg. FMA7, Am7, Am(nat7) Bb7sus4, Bb7, etc.

I've read that the 'o' can mean either a diminished triad based chord like 1 b3 b5, OR it can also mean that there's another minor triad stacked on the top for 1 b3 b5 bb7, or 1 b3 b5 6 enharmonically.

In Keith Jarrett's famous version of this song, I never hear the movement from F to F#o that is indicated on our lead sheet (measure 5). I can see why someone would write it, but in every run through here: https://www.youtube.com/watch?v=3l0cNP3sBW8, I can't hear that bass-line or any hint notes at anything diminished. He plays it through 5-7 times, slowing it way down about half-way through.

So, we are supposed to use the backing track we've been provided, which does walk that bass up from F to F# to G in a C/G chord in the next measure.

What do you jazzers say is common practice for the 'o' symbol by itself? Diminished triad, or 3 minor triads stacked on each other?

Why is this important for this assignment? We are supposed to be identifying 'guide lines' or rising and/or falling series of notes that progress like a scale, that are hinted at by the chords in the chart and in the melody.

Perhaps it doesn't matter and that 3rd minor triad note always will sit well no matter if it's explicitly written out or not? Any informed response is welcome here!

Well, the 2nd part of the assignment is to solo over the backing track. Here is one case where I wish I could play what I'm hearing in my head - because it sounds SO much better than what I can get my fingers to do right now. But what an ace song! This one goes into my 'practice file' for improvement.

Last edited by rockstar_not; 11/12/13 03:52 PM.
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