The Jazz Guitar Chord Dictionary
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  1. #51

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    I’m going to have to delete this whole thread, aren’t I.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #52

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    What’s the deal with augmented chords? There’s like, none in the real book but my big band charts have a ton of them.

  4. #53

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    Quote Originally Posted by AllanAllen
    What’s the deal with augmented chords? There’s like, none in the real book but my big band charts have a ton of them.
    They're in there, usually disguised as Dominant 7#5 chords.

  5. #54

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    And some nice melodic minor chords … it’s hiding in the min(maj7) and 9#11

  6. #55

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    So are you guys doing the homework or not?

    Quote Originally Posted by Bobby Timmons
    Professor Bobby wants to know how everyone is doing with the first homework assignment of running the scales of chords. Proficiency with 2, 3, 4 note voicings, the different scales of chords. You want to be able to at least play them in quarter notes at ballad tempos. If you want to start ez, then do Professor Bobby's ez ones for guitar: dim/dim and aug/aug.
    Quote Originally Posted by pamosmusic
    I’m going to have to delete this whole thread, aren’t I.
    Too bad we can't delete threads on our own. Bahaha.

    Quote Originally Posted by AllanAllen
    What’s the deal with augmented chords? There’s like, none in the real book but my big band charts have a ton of them.
    Not many augmented chords in the real book. It's a good altered color to use tho over 7 chords when you feel like it.
    Last edited by Bobby Timmons; 12-07-2024 at 04:33 AM.

  7. #56

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    Quote Originally Posted by Bobby Timmons
    So are you guys doing the homework or not?
    Yes, professor, we’ve been over this already.

    You could always demonstrate for the class?

  8. #57

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    (And there are plenty of augmented chords in the real book … remember that the “#5” and “+” designations are synonyms)

  9. #58

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    Quote Originally Posted by pamosmusic
    Yes, professor, we’ve been over this already.

    You could always demonstrate for the class?
    Do you want me to make a video of lesson 1? Just running everything?

  10. #59

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    Quote Originally Posted by AllanAllen
    What’s the deal with augmented chords? There’s like, none in the real book but my big band charts have a ton of them.
    Very popular sound in early jazz

    Basically what happens when you have a V with a b3 blue note in the melody

    Think ‘Mood Indigo’

    Went out of fashion a bit in the modern jazz era

    Sent from my iPhone using Tapatalk

  11. #60

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    Quote Originally Posted by Bobby Timmons
    Do you want me to make a video of lesson 1? Just running everything?
    Sure.

    What Would Professor Bobby Do?

  12. #61

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    Quote Originally Posted by pamosmusic
    (And there are plenty of augmented chords in the real book … remember that the “#5” and “+” designations are synonyms)
    Not really augmented triads so much tho.

  13. #62

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    Quote Originally Posted by Christian Miller
    Very popular sound in early jazz

    Basically what happens when you have a V with a b3 blue note in the melody

    Think ‘Mood Indigo’

    Went out of fashion a bit in the modern jazz era

    Sent from my iPhone using Tapatalk
    Also in the III7 to IV sound

    Someday My Prince
    Bewitched

    Maybe that’s a b6

  14. #63

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    Quote Originally Posted by Christian Miller
    Not really augmented triads so much tho.
    Well that’s certainly true.

    I feel like in the old school stuff, it also ends up being incidental to some moving voice stuff.

    Is it String of Pearls that does that?

  15. #64

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    Quote Originally Posted by pamosmusic
    Well that’s certainly true.

    I feel like in the old school stuff, it also ends up being incidental to some moving voice stuff.

    Is it String of Pearls that does that?
    Dunno. Loads of stuff does.

    Sometimes you sub with a VII7+5

    Fats Waller etc

  16. #65

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    In other news. I added regular triads a few days ago so I started doing some short elevator sequences.

    I feel like there’s a huge textural shift between dyads and triads that doesn’t feel as seamless as with the shift between different kinds of three note voicings or between three and four note voicings.

    But I’ve got …

    unisons
    thirds
    fifths and triads
    sevenths and what amounts to a second inversion triad or shell
    a seventh and a third (so an octave span)
    and a shell based on the drop 2

    so that’s probably as far as I’ll go for a while. Maybe I’ll try to make something happen with the drop 3s later

  17. #66

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  18. #67

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    Quote Originally Posted by Christian Miller
    thumbnail 0/10

  19. #68

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    Quote Originally Posted by joe2758
    thumbnail 0/10
    I don't make an effort for you lot.

    Also I quite like it.

  20. #69

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    Quote Originally Posted by joe2758
    thumbnail 0/10
    Dude are you kidding me?

    Classic Miller.

    We’ve got the neon channel logo. We’ve got a very English holiday sweater. We’ve got his mouth open mid rant.

    this might even been a 10/10

  21. #70

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    Quote Originally Posted by pamosmusic
    Dude are you kidding me?

    Classic Miller.

    We’ve got the neon channel logo. We’ve got a very English holiday sweater. We’ve got his mouth open mid rant.

    this might even been a 10/10
    This is my truth

    EDIT I do not know what an English holiday sweater is. The correct terminology is 'Cringe Christmas Jumper'
    Last edited by Christian Miller; 12-07-2024 at 09:44 AM.

  22. #71

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    For me, this method’s real chordal starting point is when you can go from any minor 6th or Dominant 7th chord associated with a Diminished to any other associated minor 6th or dominant 7th, across the stringsets associated with the chord form (drop 2, drop 3, drop 2 and 4). Echols really emphasizes this, which is why I really dig his stuff. E.g, Bdim: to go from any chord G7-Bb7-Db7-E7 to Bm6-Dm6-Fm6-Abm6. This replaces the over-thinking associated with what extension combinations that are excessively discussed in modern harmonic pedagogy —- blah blah blah (#9, b9, #5,b5, #11, b13). It’s neat, orderly, grip based, but in a way you can use your ear to find your way though, systemically.

    As for the augmented triad, Roni Ben Hurr really emphasized this as a V7 chord function to get to any major or minor chord a half step up from any of the three notes of the augmented triad. G# augmented? Use it to get to Am or AM; Cm or CM; Em or EM.

  23. #72

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    Quote Originally Posted by pamosmusic
    Sure.

    What Would Professor Bobby Do?
    I guess I'm not Professor Bobby. I can't make myself spend 3 hours on a video for absolutely noone to use it lol.

  24. #73

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    Quote Originally Posted by Bobby Timmons
    I guess I'm not Professor Bobby. I can't make myself spend 3 hours on a video for absolutely noone to use it lol.
    nah man just spend like 15 mins on the video and maybe like 2 hours on the thumbnail tops

  25. #74

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    Quote Originally Posted by Bobby Timmons
    I guess I'm not Professor Bobby. I can't make myself spend 3 hours on a video for absolutely noone to use it lol.
    I generally spend the exact length of the video on the video, plus 45 seconds to clip out the part where I’m leaning forward to press record and you can see up my nose

  26. #75

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    Quote Originally Posted by pamosmusic
    I generally spend the exact length of the video on the video, plus 45 seconds to clip out the part where I’m leaning forward to press record and you can see up my nose
    That’s my favourite bit


    Sent from my iPhone using Tapatalk