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12-19-2015, 10:39 AM #501destinytot GuestOriginally Posted by Irez87
Last edited by destinytot; 12-19-2015 at 01:08 PM. Reason: typo
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12-19-2015 10:39 AM
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Originally Posted by Reg
Last edited by matt.guitarteacher; 12-19-2015 at 01:02 PM.
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I think this might help you. There are a series of 6 books from Robin Nolan. With just one you'll see his easy approach to making heavy use of the low E string in regards to chords and chord movement. No theory or 'method' involved. It's pricey but it's worth it just to see the chord diagrams.
Robin Nolan Gypsy Jazz Songbook and Play Along CD Volume 1 - DjangoBooks.com
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Hey, Steve!
Good suggestion re Robin Nolan. I had the luck to meet him in Amsterdam back in the 1996 when I stumbled upon his group playing outdoors one lovely summer's evening. I got to hang briefly with the band and friends in a cafe after their performance, though I did not speak much with Robin as he was rather quiet at the other end of a long table. In any case, he was a great guitarist back then, and he was likely in his twenties. He has a video or two with Martin Taylor as a duet on YT. I still have his band's card from that day.
Anyway, I will have to take a look a that Gypsy Jazz Songbook. Sounds cool.
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Originally Posted by A. Kingstone
So I'm looking in the book and page 23 and 24 have the same exact diagrams?
Also referring to those same diagrams on page 23 and 24...are those 3 chords in each diagram representing 2-5-1?
they are written as V6-vo-16 So if they do refer to 2-5-1 how are we getting more movement if it still 3 chords?
I must just not see it.
thx
Ken
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Originally Posted by guitarplayer007
So a solitary F chord could be played instead as C6, Cdim, F6. It basically says that on page 22.
The eight variants given are just different inversions of this movement, i.e. on 4 different roots and 2 different string sets, to give you lots of options where to use this move. By transposing these shapes as necessary, you could use this movement on any major chord in any key anywhere you like.Last edited by grahambop; 12-19-2015 at 07:14 PM.
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Originally Posted by grahambop
So now you can use the same movement twice as much, i.e. to replace a minor chord as well as a major chord.
I assume you're talking about Alan Kingstone's book by the way, perhaps the page numbers are slightly different in my edition. But I think the above stuff is what you are referring to.
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Originally Posted by targuit
There's no theory or anything. You can work that out later.
I think that's the kind of thing the OP might be looking for.
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Originally Posted by guitarplayer007
For page 23, read page 21.
Not II/V/I.
As a ONE FUNCTION.
Page 24 looks nothing like page 23.
Page 25 is exactly the same as page 23 as a TWO FUNCTION.
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Another great chord sub
" anytime you want to play a hip dominant seventh chord with a #5 and b9 (eg, B7#5b9), just play a minor sixth a half step above it (C-6)."
it works perfectly.
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Alternate RC using diminished chords
I6--Idim--IV6--V6--Vdim--I6
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PS-- does Alan's book cover the concept of "borrowed notes"? I E, borrowing notes from the dominant seventh "resolving" into the diminished, or borrowing notes from the diminished into the minor or major sixth chord? Yet another way of creating movement and tension.
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[QUOTE=NSJ;596489]Another great chord sub
" anytime you want to play a hip dominant seventh chord with a #5 and b9 (eg, B7#5b9), just play a minor sixth a half step above it (C-6)."
This thinking is good for a quick fix I guess but it's very important to understand the chords function in the given moment.
Where is the chord heading.
Once you get that C-6 is an F9 without the root or an A-7b5 the world of chord movement opens up as you have voicings for all these chords too.
You could be really hip and voice the chord voicing
Eb G A D (bottom to top, Eb on D string 13 fret)
Then look at what this chord can be.
C-6/9
B7 #9
Am7b5
F13
D7susb9
So when you think of this chord with.
Eb being the b3 it's a C-6/9
Eb/D# being the natural 3 of B7#9
Eb being b5 of Am7b5
Eb being the b7 of F13
Eb being the b9 of D7susb9
It becomes VERY VERY useful.
The voicing I gave you also SCREAMS melodic minor you can finger the C melodic minor right under that scale.
And guess what.
It works PERFECTLY for all those chords.
C melodic minor from Root of C-6/9
C melodic min half step above B7 alt
C melodic min minor third above Am7b5
C melodic min from 5th of F13
C melodic min from b7 D7susb9
Work out different inversions of this chord in all string sets and employ it in turnarounds and cycles.
It opens up melodic minor and chord subs and movement like you wouldn't believe.
Do this with all the notes in the chord too so.
When you want to use the voicing as a C-6/9
the 9th is on the top
so to make it say F-6/9
Move the whole voicing so you have a G on the top.
The rule is look at the FUNCTION of all the notes in the chord. Then use the chord in all its possibilities it becomes second nature to see this as an Altered dom or a -75b or a m6Last edited by 55bar; 12-20-2015 at 02:42 AM.
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Originally Posted by NSJ
Cmi6 is a rootless F9 chord so it's a tritone sub of B7 alt.
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Originally Posted by docbop
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Originally Posted by 55bar
as my teacher like to say.... figure out the math of the song.
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Originally Posted by docbop
Mine used to say "play better!"
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Originally Posted by NSJ
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Originally Posted by docbop
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Originally Posted by grahambop
So with any bar where you have a MAJ chord for 4 beats you can move those 3 shapes instead of playing static Fmaj?
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Originally Posted by guitarplayer007
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12-20-2015, 01:30 PM #522destinytot GuestOriginally Posted by NSJ
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Originally Posted by destinytot
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Originally Posted by guitarplayer007
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Originally Posted by MarkRhodes
Peripheral Gear, NWD
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