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Hey guys, I'd really appreciate if someone could figure out which chord Lage is playing at 3:06 it's right on the chord change to the Bb-7
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10-21-2017 02:31 AM
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Try this
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it seems to be an altered G7 chord, a dominant area on the C-7 that's currently being played. He plays the four middle strings on 10-9-6-6 frets, so the notes are root,3rd,b5,b7. You could see it as an altered or whole note scale voicing, or as an intervallic voicing even.
Last edited by Alter; 10-21-2017 at 05:28 AM.
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I agree with djg, he is only playing the top 4 strings, so it's: x x 10 9 6 8.
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Looks like x109866 which might be a G7#5#9. If you assume G is the root.
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Originally Posted by ragman1
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I think someone should ask him :-)
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It seems more like a Dmi9 or Fma7 voicing. Dmi9 sliding to Eb7 isn’t that unusual.
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See post no. 4 - it’s exactly what djg said.
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I thought I heard C Db F C.
Not sure about that E natural.
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Originally Posted by rpjazzguitar
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I could not make it to 3:06.
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I stand corrected. The semitones are E F. At first I thought C Db.
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Morningstar440 has it ... its an altered Bbmi (9#11) setting up the V7 Eb7 ... in essence its the ol' 3-6-2-5 trick..Julian plays the hell out of those chords ..top notch stuff
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Thanks to the OP for calling attention to this voicing.
C E F C in between a Bbm7 and an Eb7.
It looks to me like he might have been thinking Bbm9 moving toward an Eb dominant sound.
But the way he does it is novel, at least to me.
It would be more common to move the F to an E and then to an Eb. There some flexibiity, typically, with the other notes, but certainly we wouldn't be surprised to hear an Ab going to a G. We might hear Ebdim7 as a passing chord -- or something similar.
But what Mr. Lage does is give us the E -- without relinquishing the F!
So, we hear the passing tone, E nat, along with the F. I'd never have thought of that, and yet, it sounds great.
He then moves to a voicing for Eb7 which is a grip more commonly associated with Cm7. As an Eb, it doesn't have a b7. And, again it sounds great and it doesn't feel like anything is missing. Quite the opposite.
Anybody know how he developed his harmonic sense in this direction?
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Originally Posted by morningstar440
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[QUOTE=fuzzthebee;811002]I think it's probably more like FmMa7 aka Dm9b5 aka Bb7#11 aka E7alt. The absence of D, Db, Ab etc. makes it ambiguous.
I want to make sure I understand this ...
Is it that he's thinking, perhaps, Bb7 instead of Bbm7?
And, then, he's playing a fragment of a Bb9#11? Maybe thinking of it as a tone cluster out of Fmelmin?
Oh, and avoiding the D natural? Because the movement from the Cm7 to the Bbm7 really doesn't work with a D natural against the Bbm7, well, maybe if you don't lean on it. Like Cm7, Bb9#11-no-3, to Eb7#11.
And, even if you get that far, how many people would play C E F C?
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Perhaps he just likes the sound it makes.
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Definitely a case of 'hide the 3rd'. Even Larry Grenadier avoids it in this case, playing Bb-F-C-Ab in that bar (with JL's chord falling on the C-Ab).
Rahsaan Roland Kirk
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