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Originally Posted by AlohaJoe
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07-20-2011 09:31 AM
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Kmans voicing. (Actually Bill Evans from Very Early) Ab13b9
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This makes more sense to me. Barre the whole 4th fret with your index.
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Whatever fingering works, But, how do you deaden the 5th? I think John McLaughlin uses his thumb on the 6th.
I got accustomed to it from this pattern G7#9 - C13b9 -F7#9 Bb13b9.
[CHORD] G7 /F7
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[/CHORD]
[CHORD] C/Bb
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[/CHORD]
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Originally Posted by whatswisdom
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But, how do you deaden the 5th?
But as you said, whatever works. Nothing wrong with using your left hand thumb to articulate.
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Originally Posted by whatswisdom
That chord structure is based on the 4th mode of MM. Lydian b7. Great chord and great sound. You should try and build all of the chords from MM. Extend them out to the 13th. Very dark and interesting. Your ears will acclimate to the sounds once you start incorporating the harmonic structure.
It is a 9#11Last edited by brwnhornet59; 07-20-2011 at 11:49 AM.
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Originally Posted by brwnhornet59
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Originally Posted by whatswisdom
One of Wes's favorites, but he did not play the root:
C7#11 or Gb7#5
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||---|---|---|---|---|---|---|---|---|---|---|Last edited by Kman; 07-20-2011 at 03:23 PM.
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I've been going up and down MM scale stepwise (all modes) a lot in all keys to get used to the sound ...
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BTW, wisdom. Another way that has helped me get the scale into my brain is not cycle up and down in its key center. Stay at the same tone but apply the different modes to the same tone. You will be changing keys 7 times. Was very helpful to me.
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Originally Posted by brwnhornet59
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Sure, that's it.
CMM
C dorian b2
C Lydian #5
C Lydian b7
C mixolydian b6
C locrain natural 2
C alt. (locrain b4)Last edited by brwnhornet59; 07-20-2011 at 01:17 PM.
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What is funny is, since starting on jazz in earnest maybe a couple years or so ago (I tooled around for quite some time before that), the chords I NEVER thought I'd get are now second nature and I have a whole new crop of chords I will NEVER get. haha.
I remember when some basic chords were just a pain! I remember thinking that:
--------|--------|--------|--------|--------|--------
--------|--------|--------|---4----|--------|--------
--------|--------|---2----|--------|--------|--------
--------|--------|--------|---3----|--------|--------
--------|---1----|--------|--------|--------|--------
--------|--------|--------|--------|--------|--------
Was just impossible!
Then:
--------|--------|--------|--------|--------|--------
--------|---1----|--------|--------|--------|--------
--------|--------|--------|---4----|--------|--------
--------|--------|---2----|--------|--------|--------
--------|--------|--------|---3----|--------|--------
--------|--------|--------|--------|--------|--------
Was just never going to get this one. haha. There was just always that stray finger that didn't want to land where I wanted. haha.
Now, I do have a limitation is that my fingers will not bend backwards so some chords are just not going to be in my wheel house. I will just have to figure a workaround when I come to those in my studies.
Right now I am working through the maj7, min7 and dom7 chords in Drop2-3 and their inversions.
There are still a couple chords that I have a finger that just doesn't want to work with me on. haha.
This one:
--------|--------|--------|--------|--------|--------
--------|--------|---2----|--------|--------|--------
--------|--------|--------|---4----|--------|--------
--------|---1----|--------|--------|--------|--------
--------|--------|--------|--------|--------|--------
--------|--------|--------|---3----|--------|--------
Is an example. My middle finger just doesn't want to land on the b-string. Keeps trying for the G string and hope I don't notice. haha.
It will eventually. I am fighting 20+ years of bad habits. So... it will come in time.
I am hoping when I transfer to KSU (Yeah, I am one of the oldest students) I can get on with their jazz band. That'd be awesome.
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Originally Posted by barrymclark
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Originally Posted by whatswisdom
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Originally Posted by whatswisdom
C9#11 is more exacting, saying, "put that ninth in there!" C7#11 suggests, "give me a dominant sound with a raised 11th." So basically, it's the difference between saying, "hey, put the ninth in there if you like" or "put the ninth in there."
Unless there's a very specific sound I want, I usually go with the most stripped down way to write a chord and trust the player to use their ears (and best judgement)
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I'm just wandering, does'nt C9#11 imply that there could be a natural 5th ? I would call this chord C9b5.
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Originally Posted by GuyB
That is why it is called Lydian b7
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I agree with '59. Often, laziness rules in the naming of chords, and a #11 gets called a b5. Finding what scale you'd play over it usually tells you it's actually a #11.
Here my favourite #11 with a 5th chord, a Maj7(#11).
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Originally Posted by brwnhornet59
??????
The G is flat on a C7b5 (C7#11).
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Originally Posted by Kman
?
The G is flat on C7b5 (F is natural)
The F is sharp on C7#11 (G is natural)
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Do you know what C lydian b7 is? The 4th position of Melodic Minor. Based on G MM
C D E F# G A Bb
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Originally Posted by kenbennett
The notes are
C
E
Gb or F#
Bb
& D (optional)
There is no F natural or G natural.
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We need to have a chord-spelling bee. There's a HUGE difference between F# and Gb.
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We also need a lightbulb to see how many jazz guitarists does it take to change it.
Melody between melody
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