The Jazz Guitar Chord Dictionary
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  1. #1
    Room 335 - Larry Carlton Chords by: Stein Bull-Hansen


    Intro: 4/4)
    II Dmaj7 Aadd9/C# I Bmin7 C#min7 I Dmaj7 Aadd9/C# I Bmin7 Aadd9 I

    Dmaj7 Aadd9/C# I Bmin7 C#min7 I Dmaj7 Aadd9/C# IBmin7 Aadd9 D#7b5 II
    >
    A:

    II Dmaj7 Aadd9/C# I Bmin7 C#min7 I Dmaj7 Aadd9/C# I Bmin7 Aadd9 I

    Dmaj7 Aadd9/C# I Bmin7 C#min7 I Dmaj7 Aadd9/C# I Bmin7 Aadd9 I

    Fmaj7 Cadd9/E I Dmin7 Em7 I Fmaj7 Cadd9/E I Dmin7 D/E I

    Dmaj7 Aadd9/C# I Bmin7 C#min7 I 3/4) Dmaj7 D#min7b5 E11 I

    Fmaj7 F#min7b5 G11 I 2/4 Gmaj7 G#min7b5 I 4/4) A11 II



    B:

    II D I F# (#5) I Bm I Am7 Db5 D I

    Gmaj7 E7/G# I F#min B 7b9 I Emaj7 F#min7 I Gmin7 C6 C#6 I

    D I F# (#5) I Bm I Am7 Db5 D I

    Gmaj7 E7/G# I F#min7 B 7b9 I Em7 A11 I

    Gmaj7 Dadd9/F# I Emin7 Dmaj7 I Dmaj7 Aadd9/C# I Bmin7 Aadd9 D#7b5II
    >

    Repeat from A, over and over and over and over and over again.

    In the solo sections play 4/4- 4/4- 4/4- 2/4 in the bars 15-18 from A. When ever else it should be 3/4- 3/4- 2/4- 4/4 as written above. Jazz rock was supposed to be difficult and clever. These bars are a great opportunity to prove it. Haha.
    Last edited by Stein Bull-Hansen; 06-17-2009 at 08:43 AM.

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  3. #2

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    Hey, man. Thanks a lot for posting this. I'll try to play this chords with Larry's Album.

  4. #3
    Hi!
    Hope the chords worked out fine for you. I think it sounds absolutely best if you start at 10' fret, with or without the thumb-cheat. Good luck!

  5. #4

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    Nice chords, Stein. I came across them when one of my students wanted to play this song. I only have one comment. I think the chords in bar 5 and 13 i the B section should be Gmaj7 G#m7b5 C#7 (II, V to F#m)

    Regards

  6. #5
    Hi, BH!
    I wondered and wondered over the same thing, nerd as i am, but the conclution is the melody. You can never beat that. So; He plays a typically E7 major-shaped melody (E-D-C#-B), so i wote for E/G#, but the natural thing would be a straight minor 7b5 as else in the song, and all other songs. I'm not sure at all. You must have big ears! I love details. Soulmate!
    Last edited by Stein Bull-Hansen; 03-01-2010 at 12:25 AM.

  7. #6
    the tune is on u-tube it also sounds like a familiar rock tune.doz that tune ring other bells for anyone else

  8. #7

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    It "borrows" the opening sequence from "Peg" by Steely Dan, which Carlton happened to play on ( I don't think he did the solo, I think that was Jay Graydon).

  9. #8

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    [ Dmaj7 C#m7#5 / Bm7 C#m7 / Dmaj7 C#m7#5 / Bm7 Amaj7 / Dmaj7 C#m7#5 / Bm7 C#m7 / Dmaj7 C#m7#5 / Bm7 Amaj7 Eb9b5 ] ...
    I transribed the whole melody and solo and also the chords of the song. This was only the intro. If interested, let me know.

  10. #9
    radio some rock group had a very similiar progression the lyrics had something to do with' New York to Paris' and when I heard Room 335 it sounded like the same thing very catchey tune one that you never forget maybe they copied Room 335 whatever it made me feel good because it kind of took you away from the ordinary humdrum.

  11. #10

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    Quote Originally Posted by Flat5
    It "borrows" the opening sequence from "Peg" by Steely Dan, which Carlton happened to play on ( I don't think he did the solo, I think that was Jay Graydon).
    The opening sequence to Peg:

    G7 Gb7 F7 E7 Eb7 D7

    That is not anywhere to be found in Room 335

    Then Peg goes:

    | Cmaj7 Gmaj7 | Cmaj7 Gmaj7 |Cmaj7 Gmaj7 | Cmaj7 Gmaj7 |

    Room 335 starts:

    |Dmaj7 C#m7#5 | Bm7 C#m7 |Dmaj7 C#m7#5 | Bm7 Amaj7 Eb9b5 |

    Obviously they're not the same.

  12. #11

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    Thanks for the chords Stein and fep! Hope you could post more chord progressions for both Carlton and Steely Dan tunes.

  13. #12

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    Quote Originally Posted by 604bourne123
    radio some rock group had a very similiar progression the lyrics had something to do with' New York to Paris' and when I heard Room 335 it sounded like the same thing ...
    604bourne123: Maybe you're thinking of I.G.Y. by Donald Fagen from the album "Nightfly"? Carlton was all over that album as well, btw.

    "On that train all graphite and glitter
    Undersea by rail
    Ninety minutes from New York to Paris
    Well by seventy-six we'll be A.O.K.
    What a beautiful world this will be
    What a glorious time to be free"

  14. #13

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    how do i approach the solo parts? do i use modes? and what particular mode or scale to use in the song? room335.... tnx

  15. #14
    Quote Originally Posted by Flat
    604bourne123: Maybe you're thinking of I.G.Y. by Donald Fagen from the album "Nightfly"? Carlton was all over that album as well, btw.

    "On that train all graphite and glitter
    Undersea by rail
    Ninety minutes from New York to Paris
    Well by seventy-six we'll be A.O.K.
    What a beautiful world this will be
    What a glorious time to be free"
    yes thats the tune I was thinking about so kind of rock and the difference in feel using jazz scales compared to pentatonic the mood is so different with each that the mood isn't like the tune at all.

  16. #15
    Quote Originally Posted by fep
    The opening sequence to Peg:

    G7 Gb7 F7 E7 Eb7 D7

    That is not anywhere to be found in Room 335

    Then Peg goes:

    | Cmaj7 Gmaj7 | Cmaj7 Gmaj7 |Cmaj7 Gmaj7 | Cmaj7 Gmaj7 |

    Room 335 starts:

    |Dmaj7 C#m7#5 | Bm7 C#m7 |Dmaj7 C#m7#5 | Bm7 Amaj7 Eb9b5 |

    Obviously they're not the same.
    Just joined this forum after discovering these posts. Flat5 is correct about this chord progression being "borrowed" from a Steely Dan tune, and you are correct about it not being "Peg." It was borrowed from "Deacon Blue."

  17. #16

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    Quote Originally Posted by bebop kid
    how do i approach the solo parts? do i use modes? and what particular mode or scale to use in the song? room335.... tnx
    In the days when Carlton was a session player and recorded his first albums, he was a chordal thinker rather a scalar or modal thinker. He approached his solos based on the chord of the moment and its diatonic extensions. He built his lines from that collection of notes and would often superimpose one triad over another to create an extended upper structure line. Very similar to Wes Montgomery's approach and who most likely influenced Carlton in his formative years.

    In the last decade or so, he has occasionally used some scalar devices but tends to stick to his previously established triad approach most of the time.

    There is a teaching video on DVD that he recorded back in the 1980s on which he explains his triad and Super Arpeggio approach to soloing.

  18. #17

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    Quote Originally Posted by BirchHill
    Nice chords, Stein. I came across them when one of my students wanted to play this song. I only have one comment. I think the chords in bar 5 and 13 i the B section should be Gmaj7 G#m7b5 C#7 (II, V to F#m)

    Regards
    you could also play gmaj7 ab13b9 f#m7 b7#9

  19. #18

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    Quote Originally Posted by bebop kid
    how do i approach the solo parts? do i use modes? and what particular mode or scale to use in the song? room335.... tnx
    over A section use A major pentatonic/A mixolydian
    the rest of it you need to follow the changes using your 2 5 1's

  20. #19

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    In the Truefire lesson about Room 335, Larry use G7M G#m7b5 C#7(9#) so you re correct
    Last edited by montalat; 09-20-2017 at 12:33 PM.