The Shadow of Your Smile

[elixzer]

This is a chord melody arrangement...so yeah, they're suggesting you play it as written...which doesn't mean there isn't wiggle room...looks like this arrangement uses a chord to harmonize each melody note...they're not the only chord voicings that would work, but they work.

It's up to you if you wanted to learn this note for note or later take some ideas and inject some of your own into it...

To me it's not really jazz if it doesn't have some room for improvisation...


As far as "winging it"-- lets say the tabs weren't there...the written music part gives you a chord and a melody note...there's plenty of way to play that melody note on top of the chord...if I were winging it, I'd just do that as I went...I know enough places to play each chord, I can read the melody...it might not sound amazing, but I could get through that tune without sitting down and working something out that's a little more "permanent."

When I play solo, there's sort of a shell that I follow for the melody of the tune...I do it similar each time, there's usually spaces I leave where I can improv a bit, or sections I know of three or four was to harmonize and I'll grab whichever one I feel like...after the main melody, then I go into the improv, following the chord changes, but essentially improvising a new melody...

That chart you linked to is a little confusing as the Tab and the chord chart above are have the same melody notes in them, but they're not always in the same place on the neck! Yikes!

...the written music part gives you a chord and a melody note...there's plenty of way to play that melody note on top of the chord...

Which includes singing?
One of the reasons I started a thread to see how Brazilian singer/guitarists do it was to see how they play when they sing, and they tend to keep it fairly simple.
I do understand however that I could use that to avoid learning melody nots and hand stetching...LOL. But I DO love singing that tune as well as playing it. Does anyone here do the same?

When I play solo, there's sort of a shell that I follow for the melody of the tune...I do it similar each time, there's usually spaces I leave where I can improv a bit, or sections I know of three or four was to harmonize and I'll grab whichever one I feel like...after the main melody, then I go into the improv, following the chord changes, but essentially improvising a new melody...

Hey Mr B, have you done a video of you playing this?

See, even if it were suggested I would 'need 'melody notes'' (I dont know if its even right to phrase it that way) for the impro middle section opf the song, again I would do that vocally. So I am wondering IF a guitarist who would sing this would NEED to emphasize melody notes when really they just need the rhythm and feeling as they focus on the melody, if you get me? I don't know what I'm askin but am asking anyhow.

[elixzer]

With the Root based on the 7th fret the B7b9 truly isn't that long a stretch. Use a fingering of 3, 4, 2, 1 on the B7 including an implied 9th. Which of course could simply be written as B9 for a dominant or b7 is always implied in a dominant chord type, and then create the B7b9 with the same identical fingering, allowing your 2nd finger to move up one fret moving from a 9th of the B7 chord (C# at the 6th fret 3rd string) to a b9 (C at the 5th fret 2nd string.

I much prefer using Ted Greene's pdf of the Shadow Of Your Smile, carefully outlined for his students which suggests harmonic options (see attached pdf) or simply copy this jpg.

Also as an example I've attached the first 10 bars or so of TSOYS with embellished chord types to give you a quick reference to hear the harmony beneath your own fingers. Disregard the EMaj9#4 chord at the top...I was short of blank sheets. My poor computer skills aside, you'll get the idea the more you do this to each tune you attempt. Having begun just a year ago moving from jazz piano to guitar I too am learning just like you.

The Shadow Of Your Smile is a standard jazz tune and well worth learning. Analyze all the ii-V's and ii-V-I's and discover the patterns embedded throughout this tune so when you begin a new tune you'll say to yourself, "hey this is just another ii-V" I already learned from that other tune. Welcome to jazz.

Also check out Ted Greene's website, created for students. Many of the questions you're asking will become very clear if you spend some time perusing the website. Highly recommended.

Great jazz conversation here. Lovin' it!

This is really great. Thank you WOW there are SO many different voicings! I am really gonna explore it, yes.

Having begun just a year ago moving from jazz piano to guitar I too am learning just like you.

Bet you can read music though right?

#edit, I am really into that Ted Greene version (not that I can play it yet!!!), there are so many voicings to learn, explore! Have you got any Ted Greene books?

[2bornot2bop]

This is really great. Thank you WOW there are SO many different voicings! I am really gonna explore it, yes.



Bet you can read music though right?

Yes, there are lots of voicing's, which rather than think there's so much to learn think of it like 'hey, even a beginner is gonna find something that appeals to their ear other than a simple triad.'

As to reading, I know a piano keyboard by feel...not so with a guitar...still trying to map it out to my mind. I will say theoretically learning chord guitar is no different than learning chord piano. Only melody note reading is necessary, and if you can do that you can read any chord as well, for a chord is but groups of notes. One doesn't need to read music to play, evidenced by Wes Montgomery's stellar career. And unlike piano you have the advantage of simply reading tabs if that's your thing.

There is no tab piano, so hey as a beginning guitarist you've an extreme advantage. But you don't even need tabs to create wonderful music. Learn basic theory and you're off and running. Use your ear, it will always be your guide to determine if that color tone is or is not appropriate where you've used it. Keep it basic in the beginning, and by that I mean all that's required to create any harmonic jazz structure is a type of 3rd and 7th. One doesn't even need a Root.

When I sit with a new tune, whether that be at the piano or the guitar my first step is to learn the melody inside and out, and after that's solidified where I can play the melody without thinking about it do I then apply a basic harmonic outline (structure) to the melody using the Root, 3rd, and 7th. Get that under your fingers and in no time you'll be naturally adding color tones or harmonic substitution here and there where your ear will guide you to do so. Baby steps...life's rule not mine.

When you're ready to tackle serious jazz theory grab a copy of Mark Levine's Jazz Theory Book or even his Jazz Piano book, which is packed with jazz theory applicable to any instrument.

[mr. beaumont]

Hey Mr B, have you done a video of you playing this?

See, even if it were suggested I would 'need 'melody notes'' (I dont know if its even right to phrase it that way) for the impro middle section opf the song, again I would do that vocally. So I am wondering IF a guitarist who would sing this would NEED to emphasize melody notes when really they just need the rhythm and feeling as they focus on the melody, if you get me? I don't know what I'm askin but am asking anyhow.

Okay, so I tried a little something...not sure how helpful it's gonna be, just a look at how I'd do things...

If I were to sing and play, no, I would not play the melody at the same time...I'd just make sure my chords didn't lash with it...keep it simple for starters...

here's my vid...I'll learn the whole song and try to post a version soon...

[2bornot2bop]

#edit, I am really into that Ted Greene version (not that I can play it yet!!!), there are so many voicings to learn, explore! Have you got any Ted Greene books?

When I decided to branch out from jazz piano because I always desired to play jazz guitar equally as much I bought a copy of Ted Greene's Chord Chemistry, first copyrighted in 1971. I'm certain others here have their favorites. Ted's book is filled with chords more so than methodology, IMHO, but still all in all one of the best jazz guitar chord books I've discovered.

Amazon.com: Chord Chemistry (9780898986969): Ted Greene: Books

[elixzer]

Okay, so I tried a little something...not sure how helpful it's gonna be, just a look at how I'd do things...

If I were to sing and play, no, I would not play the melody at the same time...I'd just make sure my chords didn't lash with it...keep it simple for starters...

here's my vid...I'll learn the whole song and try to post a version soon...

lol wow that's a GEM Mr B. I get a lot of info from that. How fluent you are, and experimental----real Jazz. Really cool and inspiring.....

of course, you are about a google more advanced than me But I got a real feel of what perseverance can get ya. And yeah I am gonna go for that stretch.

I see I have hooked you a little on that song? I would like if you were to also checkout 2bornot2bop's Ted Greene version and do a video on that also. I feel real attracted to it because of the different voicings, though you sure were throwing some out there too lol. I will find the link and link you to it
by the way your voice sounds cool too! Theres a way to increase confidence. called groaning and toning. What it says. Just groan from the belly, and then do say some tones on the guitar and frrom the belly begin harmonizing your voice --copy tone and then harmonize with it. You will feel at ease with some vocal tones, and a bit dodgy with others--this is where people go--like you did--'i cant sing'. But if you keep at it it gets rid of blocks to allowing the tones to vibrate through you. Just some inspiration from

[Dad3353]

Okay, so I tried a little something...

Good evening, Mr. B...

Well 'winged' (or should that be 'wung'.?). Very helpful, at least to some of us... Give the kid some milk, he deserves it.

[2bornot2bop]

here's my vid...I'll learn the whole song and try to post a version soon...

Fabulous job Mr. B! Fanned and fav'd!

So the unfinished chart I posted using voicing's my ear led me to was very similar to your voicing's. I used the identical extensions I'd use for piano.

Very impressive demo for a first time chart read. This jazz standard holds endless rhythmic possibilities of which for me this is one of the hippest ever recorded. The late great Grover Washington Jr. arranged this version in '83 for a home town Philly group he produced.

[2bornot2bop]

I would like if you were to also checkout 2bornot2bop's Ted Greene version and do a video on that also. I feel real attracted to it because of the different voicings, though you sure were throwing some out there too lol.

Actually if you examine Mr. B's demo in the beginning his ear is doing the identical thing mine did. Instead of B7 he played B9 to B7b9, leads to E-9, leads to A13, and so forth.

Notice his superb voice leading, where possible he's using notes of a played chord to carry over to the next chord. Did you catch that?

Also notice collectively the number of ii-V7's in those opening measures, i.e., F#-7 to B7, E-7 to A7, then leading to a ii-V-I (A-7 to D7 resolving to GMaj). Observe too where each of these chords follows the cycle of 5ths to a T. F# B E A D G C. Or simply learn it by the numbers thereby enabling you to instantly transcribe the song to any key, i.e., vii III vi ii V I. Did you catch that? This is a commonly repeated chord phrase and use of jazz harmony you'll later discover in many tunes.

In this single tune you're acquiring a lesson in harmonic and songwriting theory as well.

[fep]

Hi Elixzer,

I made a backing track to play along too. I'm just reading thru that notation you posted a few days ago.

I started with just the melody notes. I only read the beginning of the thread and it looks like you are trying to find those notes. I did the melody notes in 2 octaves.

Then I did some comping style chord playing. Starting with simple voicings, then some higher voicings, then voicings with a pedal on top, and near the end some two note voicings. Just trying to give you some variety. Hope you can find something to use here.

[2bornot2bop]

Hi Elixzer,

I made a backing track to play along too.

Bummer it's privatized. How could that be on this site?

[fep]

Bummer it's privatized. How could that be on this site?

I made it private, can't you see it?

If you can't see it I'll 'unprivatize' it.

[mr. beaumont]

Fep, private's too private...make it restricted...click "edit" on the video and the choices are on the right of the screen...


Restriced view means only those with the link can view...it's what I did for my little vids in this threade...

[2bornot2bop]

I made it private, can't you see it?

If you can't see it I'll 'unprivatize' it.

Nope it's "private". Students like myself would love to see it. Thanks!

[fep]

I just changed it to public.

[2bornot2bop]

I just changed it to public.

Great track Frank!

There's enough there for anyone to practice chords beneath your melody playing or single note lines atop your chords. Loved the rhythmic embellishments toward the last part of the video.

What's not to like about a track with one serious walking bass line as part of a pro trio, or rather with the addition of Frank a quartet.

Thanks for the inspiration!

[Dad3353]

Good evening, Frank...

+1 for the video, an excellent demonstration and a lesson in sobriety. Thanks for sharing.

[elixzer]

Thankyou very much fep. That is really cool you doing that, and I am sure it will be of great help.
You got big hands

[elixzer]

I am aware of jumping about the neck which you had stressed in earlier posts was not sise to do. What are you thoughts about this?

IE it starts on 4th fret, 7, 2, 7, 1 , 7, 5, 10, 7, 3, 7. This may NOT be jumping about I dunno, but remembering what you had said its caused a cognitive dissonance

[oldane]

A once much heard and now almost forgotten version of this tune was the one The Singers Unlimited did with Oscar Peterson in the 1970s:

It may be too polished for some, but Gene Puerling sure could write sophisticated vocal arrangements - and though neither of the four singers were great soloists they could sing in tune like nobody else. An example of an exceptionallly high professional level.

[mr. beaumont]

I am aware of jumping about the neck which you had stressed in earlier posts was not sise to do. What are you thoughts about this?

IE it starts on 4th fret, 7, 2, 7, 1 , 7, 5, 10, 7, 3, 7. This may NOT be jumping about I dunno, but remembering what you had said its caused a cognitive dissonance

Keeping chords close usually facilitates nice voice leading, which is the most important thing...

Now Ted Greene might have been better at voice leading than any guitarist in history...so yeah, his voicings might be spanning the neck...but look at the notes, not just the shapes...there's a reason for it.

[elixzer]

Keeping chords close usually facilitates nice voice leading, which is the most important thing...

Now Ted Greene might have been better at voice leading than any guitarist in history...so yeah, his voicings might be spanning the neck...but look at the notes, not just the shapes...there's a reason for it.

Do you mean the top notes?

Also this is the feeling I have trying that. its a sense of just copying chord shapes. of being a bit lost. Not sure if what I am doing is really learning me...? You felt that when you started that process you spoke about?

[mr. beaumont]

Voice leading sounds great on top...not the only place, but a good place...

It's having that half step movement between chords...like some of the ii V examples I gave...

Do you have the fretboard down? Every note, every string?

[elixzer]

Voice leading sounds great on top...not the only place, but a good place...

It's having that half step movement between chords...like some of the ii V examples I gave...

Do you have the fretboard down? Every note, every string?

you mean to be aware of all the notes of the chord I strum or pluck?

[mr. beaumont]

Absolutely...it makes this whole chord process so much easier...

If you know what notes you're playing you can see things like voice leading even when chords change positions...