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There was a tune where the guitar chart was missing so I wrote my own using the bass chart. Those guys have it easy, just nice and steady quarter notes.
Not on this arrangement though, Nestico thought he was being clever by putting a note and then / / / instead of writing the pedal tone four times, that caused more confusion.
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10-29-2024 12:01 PM
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Originally Posted by AllanAllen
If I had to play this chart cold I would check with the bass player and re-cycle joe pass chords .. I could not hear the melody within this chord structure..so yeah I want to see the melody too.
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Originally Posted by pamosmusic
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Originally Posted by jamiehenderson1993
The real need for more advanced comping harmonies is to support a soloist that is playing simple solo lines (pentatonic blues lines). - to help their solo sound more harmonically complex.
You need to learn about two dozen chord types voiced for jazz/blues to do that well, so work at home doing that and employ them a little at a time on the band stand until you learn how and when they sound best and most assist the soloists (knowing how to use these chord type voicings will also provide pathways to developing your own soloing ideas).
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Originally Posted by AllanAllen
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Originally Posted by garybaldy
Yeah, I didn't read the bass chart in time at rehearsal. I worked out the chords at home.
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Originally Posted by pauln
I would say this about rhythmic complexity. Harmonic complexity, simple tends to be better regardless. Sometimes following the soloist on dissonance works better than other times, but I’m not sure I’m being super harmonically complex when someone is playing simple single lines.
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Originally Posted by brent.h
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Originally Posted by AllanAllen
In your Dm one, lower every C to a B and that’ll be the min6 diminished.
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Originally Posted by pamosmusic
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Originally Posted by AllanAllen
or
IV6 - ii-6 - I6
(or a lot of other options on the dominant)
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I haven't read the thread so apologies if this is not helpful but ii6 is literally the upper extensions of V7. That is, playing Dm7 to Dm6 is the same as playing Dm7 to G7, with the G root omitted.
Dm7 = D F A C
Dm6= D F A B
G7=G B D F A ; omit the root and you have the notes in Dm6
To clarify what I think Peter was saying about ma6 = mi7 think of the following example:
Am7 = A C E G
C6 = C E G A
Both contain the same notes - the chord symbol you would use to identify this depends on context/function; i.e. what the listener hears or what would be easiest for the person reading your chart to understand.
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The best part of Alan’s book is the ten or so pages of these just one right after the other …
F6 - Bo - C6
F6 - Dm6 - C6
F6 - Abm6 - C6
etc
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Originally Posted by pamosmusic
I really learn best if someone in real life can say “do it like this” and then I copy them. It’s hard for me to get that out of a book.
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Originally Posted by AllanAllen
Then pick a simple two-attack rhythm … maybe 1 (2) (3) + (4) … put the voicings on beat one and then put the diminished above the next chord on the and of three. Do the same thing with the diminished below. Mix them up.
Go to the next F6, find the other two that voicelead, do the same … next F6, etc.
Find another two-attack rhythm, do the same. Etc.
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Originally Posted by starjasmine
5x4555 is D9 and Am6.
THANKS!
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Yeah there can be a barrier to entry with the systems and whatnot, but the genius is the simplicity once you’re there. Like every chord in the book comes down to maj6 and min6 … which is very cool.
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Originally Posted by AllanAllen
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Yeah I get that. Personally I really like books that don’t waste a lot of time examples and etudes and stuff, but that’s a pure learning style thing, I think.
Ive gotten a lot out of certain books like that, but the ones that have stayed on the music stand (rather than the shelf) are the ones that I treat more like references … Alan’s book, Advancing Guitarist, Serious Jazz Practice Book, maybe a couple others
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I just need one example to play around with.
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Man, just play "chunk chunk."
"Chunk chunka" "chunka chunka" is the problem. Slop.
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Originally Posted by mr. beaumont
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This book is really good:
https://www.amazon.com/MBGU-Jazz-Cur...s%2C154&sr=8-1
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Originally Posted by AllanAllen
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Peter is this Bm7b5 right? Specifically the overlap in the first and last voicing? It’s just root movement between those two.
Bobby's keys to sounding good
Today, 05:53 PM in Everything Else