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  1. #1

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    I would like to build a cord melody from the sheet music..I can't seem to
    find it..Can anyone tell me where to look?....Thanks...

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

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    It's in both the old and new real book volume 3

  4. #3

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    Thanks, I just found it in Real book 3...

  5. #4

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    Does anyone have a chord melody pdf for "Emily"? Thanks so much.

  6. #5

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  7. #6

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    Thanks, dot357! That's a good start. I'm new to this chord melody stuff, but maybe I could practice trying to figure one out based on what you shared...

  8. #7

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    Yeah, thats a nice clear version..Trying to analize this a little..I see the
    first four bars are in Cmaj.I-vi-ii-V....The next four bars has that F# and
    Bb..ok didn't take me long to get lost...What key are we on the second four bars?...

  9. #8
    The version out of the Aebersold book is a bit more straightahead.

    The F#13 you're seeing is a tritone sub.

    Here's the vanilla changes:

    C |Am7 |Dm7 |G7 |C |C7 |F |Fm7/Bb |

    A |F#m7 |Bm7 |Bm7/E |Am7 |D7 |Dm7 |G7+ |

    C |Am7 |Dm7 |G7 |C |Gm7/C |F |E7(b9) |

    Am7 /B7+ |Em7 |A7 |Dm7 |G7 |Bb7 |A7 A7/G|

    F#m7(b5) /Fm7 |Em7 |A7 |Dm7 |G7 |C |Dm7/G ||


    In the second four, you start in C, the C7>F takes you into F Major, the Fm7/Bb (or Bb7sus4) is being using as bii7 into the key of A in bar 9. Four bars in the key of A, the Am7>D7 is a ii/V in the key of G, the Dm7/G7+ is a ii/V into the key of C.

    That covers the first half of the tune. Take a look and see if you can decipher the second half.

  10. #9

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    Thanks, GodinFan.

  11. #10

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    Anyone have bead on the lyrics?

  12. #11

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    Lyrics, I got:

    Writer(s): Johnny Mercer - Johnny Mandel

    Emily, Emily, Emily
    Has the murmuring sound of May
    All silver bells, coral shells, carousels
    And the laughter of children at play

    Say Emily, Emily, Emily
    And we fade to a marvelous view
    Two lovers alone and out of sight
    Seeing images in the firelight
    As my eyes visualize a family
    They see Emily, Emily

    (And we fade to a marvelous view)
    Two lovers alone and out of sight
    Seeing images in the firelight
    As my eyes visualize a family
    They see Emily, Emily
    Too

  13. #12

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    Thanks Godinfan, starting at bar 17..we have a I-vi-ii-V..next a ii-V-I-IV in Fmaj...next IV-V in Emaj?...next a ii-V in Dmaj....is that correct so far?
    ( I-vi-ii-V is cmaj.)

  14. #13
    Quote Originally Posted by artcore View Post
    Thanks Godinfan, starting at bar 17..we have a I-vi-ii-V..next a ii-V-I-IV in Fmaj...next IV-V in Emaj?...next a ii-V in Dmaj....is that correct so far?
    ( I-vi-ii-V is cmaj.)
    Not quite.

    I iv ii V I in C, then V>I in F major. The E7(b9) is V of the Am in the next bar.

  15. #14

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    Ok, now I'm with you, I was looking back at the dot357 version...What about the B+..next I see a ii-V-I in Dm...Then three 7th cords..I have not
    a clue...

  16. #15
    B7+ is the V of the next ii...Em7>A7 is a ii-V in D, followed by...another ii-V in C - but that leads to the Bb7 in what's sometimes termed a backdoor, or deceptive cadence.

  17. #16

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    Ok, a backdoor cadence, in jazz harmony the cadence from bVII to I...as
    opposed to the normal cadence V-I...Im learning something here.....
    so its still in Cmaj?...We have a A7..F#m7..key of A?...sorry, Im not too
    good at this!

  18. #17

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    Quote Originally Posted by artcore View Post
    Im learning something here.....
    so its still in Cmaj?
    I never think of parts of a song as "being in C major" or not. If you are trying to do a chord melody version of Emily and you are sticking with a given harmonization, use those chords. If you are improvising, use those chords.

    But anyway, I think that Bb7 is really a tritone substitution for an E Alt chord

    And stepping back and looking at the entire melody, I see there is only a single accidental (a F#), which could be explained away as a lower neighbour. So I could claim the whole melody is in C, if I were into that sort of thing.

  19. #18

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    Yeah, this is theory I know that, its something I've been trying to understand..it seems to me its something we should know, or be able
    to do with a song..understanding the structure of it..I know its not nessasary to do a cord melody..and there are different ways of looking at
    it for single line improvising..

  20. #19
    Quote Originally Posted by BigDaddyLoveHandles View Post
    I never think of parts of a song as "being in C major" or not. If you are trying to do a chord melody version of Emily and you are sticking with a given harmonization, use those chords. If you are improvising, use those chords.

    But anyway, I think that Bb7 is really a tritone substitution for an E Alt chord

    And stepping back and looking at the entire melody, I see there is only a single accidental (a F#), which could be explained away as a lower neighbour. So I could claim the whole melody is in C, if I were into that sort of thing.
    Well, technically the song is in C major, and the melody is overwhelmingly diatonic.

    However, you do raise the valid point that I've strayed more into the area of playing lines over a tonal centre, rather than harmonizing this as a chord melody.

    I may just do a chord melody and post it as penance. No tabs though!

  21. #20

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    Quote Originally Posted by GodinFan View Post
    I may just do a chord melody and post it as penance. No tabs though!
    I guess it depends on how guilty you feel

    I'm just suggesting that a little analysis goes a long way and too much leads to analysis paralysis. John McLaughlin once said that any chord can follow any other chord, and it's true. Sometimes in a chord melody I like to stick in a random chord, and if it sounds cool then figure out how to get to it and how to get away from it.

  22. #21

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    Ok..you guys!...another question..what is a tonal center?...This is not the
    same as a key right?....

  23. #22

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    A piece, like a Jazz standard has an overall key. For example:

    "Let's play 'Somewhere Over the Rainbow'"
    "In Eb?"
    "No, in C"

    Eb was the key of the piece. But Jazz standards also tend to modulate, say the bridge modulates briefly to a different key, or "All the things you are" is the classic example of a tune that modulates all over the place. Here modulation is just another way to say the tonal center changes in places.

  24. #23
    OK, I said no TAB, but I wanted to see how easy editing TAB is in Finale. It's also useful to see where to place the voicings.

    I wrote the first half on the guitar, then finished it at the computer.

  25. #24
    OK, I don't think Bar 35 will work well. A 5432 Em7 chord works better.

  26. #25

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    Awesome! Thanks, GodinFan!

  27. #26

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    Thanks for the help..and thanks Godinfan for working through that piece..

  28. #27
    Artcore, as you can see, the melody largely consists of chord tones or extension, making it a relatively easy tune to harmonize. I think I notated any passing chords I used - the Bo7 and G#o7 and the diatonic walk up - CMaj7/Dm7/Em7/FMaj7 as well.