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#1
10-18-2009, 12:24 PM
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 Slash Chords as Subs For CMs Hello, I am thinking of playing Prelude to a Kiss at an open mic. I have a question on reharming... I don't exactly know what this means, but I am trying to find ways to play the tune my own way instead of relying on the chords in the Real Book. I know you can use tri-tone subs, and I use that a lot in this tune, especially in the beginning. In the real book it says D7 G7, And i use D13, Ab9, G9, Db7..etc. I think tri-tone subs is the only reharm technique I know. Would someone explain to me how slash chords are used... Do the notes have of the slash chords have to be in the key of the progression? I tried out using slash chords in the second to last measure in the beginning part. It goes l A-7 D7 l D-7 G7 l C6 A7 l I tried to use slashchords that had the melody notes in l D-7 G7 l... sounded pretty cool... Can you guys recommend other subs/ techniques I can use for this tune... What the hell is Kurt playing in this...Explanation anyone? I went to a clinic of his in Montreal and he said that he practiced play a chord on every down beat... but he didnt explain this any further... YouTube - Kurt Rosenwinkel "Prelude to a Kiss" pt. 1 @ Boocoo     |
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#2
10-18-2009, 07:04 PM
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| If you are harmonizing an A note the following triads have that tone. Majors: A,F,D Minors: Am,F#m,Dm Diminished:Adim,F#dim,D#dim Augmented:A+,F+,Db+ I also use these 3 note structures. Majorb5:Amab5,Fmab5,Ebmab5 Suspended:Asus,Esus,Dsus Take any of these and voice it over any bass note that sounds good and covers the harmonic function needed. The results can be in the key or not. |
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#3
10-18-2009, 11:20 PM
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| YouTube - Prelude to a Kiss please criticize... need help! |
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#4
10-23-2009, 05:51 PM
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| Message to Matt Warnock (saviour of starting out jazz guitarists) Hi Matt - any chance (please please) you could post a chord melody for Bobby Hebb's great song 'Sunny' -you'll recall Wes and George Benson did versions. Many thanks yet again, Pequod |
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#6
10-25-2009, 09:18 AM
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Can you voice lead diatonic chords? Are you aware of the notes in each chord that you play? Are you aware of the numerical function of the chord tones? Do you know all the key signatures? Do you know the fingerboard well? It is hard to answer your question without knowing more. You can always find written examples in books and on the internet. Looking through some of the pdf files posted in this forum will give you some examples to start. The Ted Greene book Modern Chord Progressions has many smooth chord sequences both diatonic and more altered using chord diagrams. This is a process you can do to help build aural awareness of the harmonic details of a given sequence. Example using rootless voicings Dm9/11------- F C E G G9+------------F B D# A CMa6/9/#11---E A D F# Play and listen to the notes in different combinations. One note of each chord. F-F-E C-B-A E-D-D G-A-F# 2 notes adjacent FC--FB--EA CE--BD#--AD EG--D#A--DF# 2 notes w/ one skip FE--FD#--ED CG--BA--AF# 2 notes w/ two skips FG--FA--EF# 3 notes adjacent FCE--FBD#--EAD CEG--BD#A--ADF# 3 notes w/ one skip between lower pair FEG--FD#A--EDF# 3 notes w/ one skip between upper pair FCG--FBA--EAF# Last edited by bako : 10-25-2009 at 09:21 AM. |
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