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This small book is spiral bound. Volume One contains the chord changes for 421 standards from "A Child Is Born" to "You'd Be So Nice To Come Home To."
No melodies. (And no lyrics.) Just the changes. I can't find a site selling this book that offers a look at a sample page. I'm picky about layout. (Translation: I'm getting old and want to make sure I can read it.)
Anyone seen it?
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10-23-2016 09:36 PM
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Haven't seen it.
For small format/no melody charts, gypsy jazz "grilles" are hard to beat.
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I just checked and it's available through Amazon.
https://www.amazon.com/Pocket-Change...ustrec_signin&
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Two volumes available.
Helped my repetoire study.
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I found this forum message which provides a copy of a page for the tune "Blue Skies".
Last edited by mhch; 10-23-2016 at 11:51 PM.
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I don't know what those are. Please elaborate!
Originally Posted by mr. beaumont
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Originally Posted by mhch
Thanks! That's a nice layout.
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I would imagine the iRealB app has made this product a bit redundant?
I use to see it on jam sessions about 10-15 years ago.
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Not for me! I don't have a smartphone and/or use apps. (Well, to be honest, someone gave me a smartphone earlier this year. It's still in the bag and box it came in, though I can't say offhand where I put that bag and box.) Originally Posted by christianm77
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What, like this one? Originally Posted by mr. beaumont
This is pretty much my reaction:
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Trust the french to have their own weird ass system.
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Originally Posted by christianm77
What, like this one?
This is pretty much my reaction:
Lol, you would pick one for "Tears," wouldn't ya?
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Hello my name is Alan and I used to be a fakebook junky.
I bought them all, I photocopied them so the originals would not be used.
With website The Jazz Standards top 1000 standards I made compilations and searched out the tunes I didn't have.
All the while I was working at memorizing changes to these 1000 songs (got as high as 500) while playing a duo gig twice a week.
I found these Pocket Changes and had to have them. I started transcribing the changes of what was not included in the two volumes into a third volume.
I then photocopied them all to fit 4 sheets to a page and reduced the size so it would fit in a gig bag.
I gave most of my fakebooks away last year as there is this thing called the internet.
What an obsessive idiot I truly was.
I feel better now.
(I still reference the compendium from time to time.)
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I have studied with several (four) players whose names you might know and only one of them ever used the term "drop 2".
The only one I ever heard use it said that he made a point of never playing any drop 2 voicings.
Not a joke.
I think that this was a choice he made so that he didn't sound like a certain traditional jazz guitar sound.
So, I thought I'd mention this as another application of Drop 2's -- figure out which voicings they are, and avoid them.
What this player did, among many other things as I understand it, was to start with a group of notes contained within a scale and then move it through the scale. This isn't news (I recall reading it in a George Van Eps method), but what he did was pick an unusual group of notes, find a grip for them and then move that grip through a scale.
Melodic minor harmony has no avoid note, so any group of notes can work. So, while many of us may have tried moving the stacked thirds up through the scale, maybe fewer of us have picked, say 3, 4, and 7 and found grips for those, up the scale. And, then, practiced them enough to get them in our playing.
The good part is, if you get the work done, you may have some voicings and applications that are unique to you.
As somebody else pointed out, just getting basic drop 2s in 12 keys, 3 sets of strings (or more, if you skip a string) is a lot of work! I'd never heard of it in my formative years so I never gave it any thought. Years later, when I looked at drop 2 voicings, they were all familiar. Knowing which ones were drop 2 or drop 2, or which inversion was which has never helped me in any way. I guess I'm missing something.
What I have found useful is knowing the notes in the chords I use and knowing the fingerboard. So, when I see a sequence of chords I can pick a starting point and then voice lead smoothly without thinking of grips. I don't see how knowing which grips are drop-n is going to help. Maybe somebody will explain what's useful about it.
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I never learned all of them, but have done some work with them for very specific purposes. Originally Posted by rpjazzguitar
In my opinion, they are most useful for working through inversions of specific chord voicings systematically. On the piano, this is easily done by simply building chords, in close position, in various inversions. On the guitar, close position seventh chords are mostly NOT an option. They quickly break down because of impossible fingerings.
Drop fingerings at least allow you to systematically look at fingering options for different inversions. If you're working on chord melody they are especially useful, if you're looking for a specific inversion for a melody note. Very often specific melody/chord combinations don't work with traditional grips, without eliminating another essential chord tone.
In the other hand if you know how to work through the inversions of the drop 2, drop 3, and drop 2&4, you've got three ways of systematically working inversions of a given chord. Otherwise, most of us go through a much more arbitrary process for figuring out what works, with replacing chord tones etc. etc.
A while back, I went through the process of trying to use more altered voicings in CM. Basically, a lot of these end up looking like half diminished shapes (plus extensions) from melodic minor. Anyway, because I already knew those basic inversions, I just learned to apply them in new ways. Learning the initial "drop" inversions for the basic major diatonic chord saved a lot of footwork at the next step of redoing all of the enharmonic math to arrive at the same type of fingerings. I guess that ONE aspect is actually EASIER than piano. :-)
As to the different types of drop voicings, very often drop 2's work where drop 3's don't, or drop 2&4 etc. Anyway, those are just my thoughts. Honestly, I think I've done a lot less of the "drop" work than most to talk about it. That's just my take on the "why's" of some of it.
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Two threads thrown together here....?
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thanks for the explanation.
I see that there's something to be said for a systematic approach to learning the voicings.
The way I did it, which was unsystematic, could have left some out.
I've been playing so long, I can't remember how I learned some things.
My first teacher taught me chords by teaching me chord melody.
Then, I learned the Chuck Wayne system for 4 note chords, which is systematic. I never heard the term "drop-n", but Mr. Wayne's approach certainly includes those voicings.
After that, it was learning which notes I wanted and finding them on my own.
I also got quite a few, mostly open string, voicings from Almir Chediak's books on Brazilian music.
The advantage of my approach is that, for the most part, I learned chords by applying them to songs, which made it easier to internalize the sound and function.
The advantage of the systematic approach is that you might be able to learn more voicings, more rapidly.
It occurs to me, upon reflection, that the Chuck Wayne stuff was very systematic and very helpful. After you learn his voicings, you can pretty much get any melody note on top of any chord.
Just briefly, here's his approach. Start with, say xx3433, G7. Now move one note to make G6 xx2433. Then another note to make it Gm6 xx2333 and so forth, until you've got all your 7th, 6th, major and minor, including minmaj, and whatever else you want.
Then, move the original G7 up the neck. Each note goes up to the next note on that string. xx5767 and do the same process. You learn every chord in 4 positions. Then do it on the middle 4 strings and bottom 4 strings.
Of these, the top 4 strings are most useful for combo playing. The lower 4 and, to some extent, the middle 4 contain notes that are too low. You can use them with the right EQ, cautiously. Be most careful if there's a piano and a bassist who ventures into that octave.
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Drop2's are for block chord writing.
If you solo in Drop 2's for example, it allows you (Wes style) to harmonise a line. Bill Evans was big on this on the piano for example. So it's a certain sound. Pianists can also do four way close (George Shearing) but obviously that's not practical on guitar.
TBH I don't know if Wes knew of this concept formally (although it is likely as with bro played piano)
If often think Wes can sound a bit like the Basie band in later choruses.
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Yeah. Those are drop 2 voicings. You were basically doing what I was talking about, systematically. Again, I don't think it matters so much what you call them. Originally Posted by rpjazzguitar
I think the most important thing, like you said, is the application to real tunes. I came to chord melody several years into the process. Honestly, I think it would have been a great way to start out. It's so much easier to remember multiple voicings when you have to use them constantly to make the actual music.
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I have a small real book with melodies. Widely available.....
I think
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