I wrote this after listening to the song “Resolution” by Victor Wooten. I suppose the name is something I thought of as I played that repeating bassline seen in the first line. It goes up and down. While it uses an Ab major chord as its base, the Ebmaj7 and Abmaj7 chords are from the notes that make the two halves of the bass figure differ. With those notes played by any bass instrument, or even an acoustic guitar or piano, another instrument may play the accompanying chords. These two measures can repeat as a vamp for as long as the performers desire.
Thus when the melody enters, it is not necessarily after two measures of rest, as is shown here. The chords are drawn principally from the key of Eb. The first exception to this is the Gm6, which can alternatively be played as a G7. The E natural in the melody would designate a minor 6, while the B natural might make it a G dominant 7. Cm7 and Dm7, as well as Gm7, are all found in the key of Bb. All chords on the bottom line shown here are in Eb.
I will not dissect the melody very thoroughly at this time, but I should point out that in the second measure in the second line of the melody notes, there is a Db in the melody, even though the chord is a Dm7b5. Aside from that and the Gm6 mentioned above, the only other note not in the key of Eb is another Db in the Fm7 chord one measure before the end. In this measure, the bassline may tacit, or simply ring the bass notes, an F for two beats, and a Bb for the next two. An Eb may pedal the last measure. For soloing, the entire “form” may be repeated, or simply using the two introductory chords, or any combination would be fine. The last time the melody is played, it will go right through to the last measure, holding until the performers are ready to finish.
Here is a link: http://www.youtube.com/watch?v=s8V5JrP283U
