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[Chris Ryall]

in the 1920s song side by side, the subject of another current thread, the middle eight simply comprises an extended sequence of this kind. E.g. in this rendition, based (I think) in Eb, and where the run is G(7), C(7), F(7), Bb(7).

It's called 'anatole'.  I sing Nobody loves you/Down and out with a melodeon - which has quite a lot in there.  A common variant is to introduce a b5^th substitution for alternate chords in the anatole - giving something like |Db7 |C7 | B7 |Bb7  

The tritones in the chords are the same and so their cadence still works. But look at that bass run  .  There's a famous similar cadence at the end of the penultimate line of Autumn Leaves  |Em7  Eb9 | Dm7  Db9 | - you can almost feel those leaves tumbling. All of which has bugger all very little to do with English trad.

[jb]

in the 1920s song side by side, the subject of another current thread, the middle eight simply comprises an extended sequence of this kind. E.g. in this rendition, based (I think) in Eb, and where the run is G(7), C(7), F(7), Bb(7).

It's called 'anatole'.

I bow to everyone in my knowledge of jazz chord progressions, but I understood anatole to be a sequence such as C, Am, Dm, G7, which is really just a turnaround on the tonic chord (here C).
But, as you say, probably nothing to do with English trad, whatever that is.

[Chris Ryall]

A french term that I got from Stéphe Milleret. He gave the example of a run of major dominants but [google google]  http://fr.wikipedia.org/wiki/Anatole_(musique) (in French)

There it runs down in 5ths but as minor chords as as you illustrate. They do state "ce n'est pas un turnaround".  Gosh, theres a "Christophe" as well.  Both would seem open to interpretation.

[GbH]

I'm not really in the position to join in with this thread, but have certainly learnt a thing or two from it.  Thanks.

[Chris Ryall]

Just back from Whitby weekending and managed to get to Tony Hall's teachin at the Tory Club.

He said he really didn't like all those open guitar tunings that emerged in the 70's - and that they all sounded the same. So that's a reaction against the 'modern English style' and a vote from the Great Man for old fasioned dominant chords.

I have to say Tony's playing is still sweet as a nut - so maybe something in it.

[Andrew Wigglesworth]

there's just so many ways that some chords are written on lead sheets.

This is all getting a bit too heavy for me.

Lost me ages ago! 

I think it's summat to do with the "pah" bit   

[Simon]

He said he really didn't like all those open guitar tunings that emerged in the 70's - and that they all sounded the same.

Most of these open tunings were used in blues much earlier (e.g. Robert Johnson). Slide guitar is so much easier with open tunings. Then again, some people think all blues sounds the same too. 

[Chris Ryall]

Most of these open tunings were used in blues much earlier (e.g. Robert Johnson). Slide guitar is so much easier with open tunings. Then again, some people think all blues sounds the same too. 

There's at least one person here things all my posts sound the same    As for Blues .. a bit of truth in that if we're talking classic 12 bar. But then a lot of Charlie Parker's stuff was structurally blues, to say nothing of Gershwin, or Eric Clapton. Does "Moma's got a squeezebox" count as English?  Defo got V⁷ chords in there.

  http://www.youtube.com/watch?v=ISLV6BvngaU

[Ollie]

He said he really didn't like all those open guitar tunings that emerged in the 70's - and that they all sounded the same.

Interesting... then again, I suppose TH isn't a guitarist. As a guitarist who only really uses open tunings, I can tell quite easily whether someone is playing in C modal, DADGAD, Drop D, Open G, or Open D. The great thing about them is that they are a hell of a lot easier than standard tuning, but sound much more impressive.