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  1. #101

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    I like this one. It's happy music. No one can say it's a white blues. Listen to Gatemouth play that solo! Lovely player.


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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Thanks for that ragman - enjoyed it a lot!
    -------------------------------------------------------------------------------------------------------------------
    A long journey starts with the first step...and although I have long forgotten about my destination I'm still enjoying the journey.

  4. #103

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    Thanks, Tommo. I don't want to be a nuisance here but I like fooling around with this stuff. Here's a version I just did. I think it's fairly original. Loses some of the raw feel, of course. It's re-harmed like this.

    G6 - Bm7 - Em7 - G9
    CM7 - C#o - Bm7 - E7
    Am7 - Ab7 - G6/E7#9 - Eb7#9/D7#9


  5. #104

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    Anyway, we better return to sobriety... it's a jazz forum :-)

  6. #105

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    I like this Maj7 for Blues

    BLUES:
    Fmaj7 | C7sus | Fmaj7 | F7 |
    Bbmaj7 | Eb7 | Fmaj7 | Abdim |
    G-7 | C7 | F Ab7 | Dbmaj7 Gb7 :||

    And go the opposite way with RhythmChanges, all Dom 7ths with some Alts.

    RHYTHM CHANGES:
    Bb7 G7 | C7 F7 | Bb7 G7 | C7 F7|
    Bb7 Bb7#9/D | Eb7 Edim | Bb/F G7 | C7 F7 :||

    Maj7 BRIDGE:
    Dmaj7 | Dmaj7 Ab7 | Gmaj7| Gmaj7 Db7 | Cmaj7 | Cmaj7 Gb7 | Fmaj7 | Fmaj7 B7 ||
    Last edited by rintincop; 12-03-2019 at 02:43 PM.
    Casino Coupe with "Antiquity" P90s. Telecaster with S.D. Vintage Stack pickups. Stratocaster with 3 "Little 59s" pickups. Monoprice 5 watt with GG 12AY7 tube and Gold Lion 6V6, and Weber alnico speaker. Fender Rumble 40 with Eminence Baslite speaker.

  7. #106

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    Quote Originally Posted by ragman1 View Post
    Anyway, we better return to sobriety... it's a jazz forum :-)
    ...and the blues is at the heart of jazz. Liked your short clip . swinging!
    -------------------------------------------------------------------------------------------------------------------
    A long journey starts with the first step...and although I have long forgotten about my destination I'm still enjoying the journey.

  8. #107

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    Quote Originally Posted by Reg View Post
    Yea I loved Albert... wasn't he a lefty also.
    yeppers...played a flying V style ax..upsidedown with the bass strings on top..and tuned low so he could get those two note bends

    He used my fender twin amp for a gig once ..very nice man..met him several times when he would play in Los Angeles..

    his tune Cold Feet is still my fave..
    play well ...
    wolf

  9. #108

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    Quote Originally Posted by Tal_175 View Post
    On the other hand if you consider a less conventional blues tune, All Blues. 6/4 time, in minor, does not always stay with conventional blues rhythms and melody (although they are used at times mixed in with a more modal style), no lyrics. Yet it's easily heard as a blues tune.

    The reason I hear it as blues I think is it starts with 4 bars of tonic, followed by subdominant in exactly the 5th bar (very decisive moment to me). Then reaching dominant in the last 4 bars (and bVI7 as commonly done in minor) to cycle back to tonic. I don't know if I could hear this tune as blues if these weren't all true.

    I don't think there's any question that it's a blues. Also, it's not in minor. It's all Dom7's (with major thirds). But it It does play up the inherent major/minor ambiguity in all blues (get it?) forms because in bars 5-6 the bass part stays in G while the other parts play C7 (making it sound like both Gmin and C7 simultaneously), and because Bars 10-11 are 7#9 chords (#9 = min3).

    John

  10. #109

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    Quote Originally Posted by Reg View Post
    Yea I loved Albert... wasn't he a lefty also.
    Yup. He and Otis Rush both played righty guitars upside down without switching the strings, which is a big part of the way their phrasing and vibrato.

    John

  11. #110

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    Quote Originally Posted by John A. View Post
    Yup. He and Otis Rush both played righty guitars upside down without switching the strings, which is a big part of the way their phrasing and vibrato.

    John
    My late friend Eddy Clearwater did the same. Very different sound on bending (pulling instead of pushing) strings and vibrato.
    -------------------------------------------------------------------------------------------------------------------
    A long journey starts with the first step...and although I have long forgotten about my destination I'm still enjoying the journey.

  12. #111

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    Wow, this topic generated a lot of interest!

    I tend to think of the basic all domininate I IV V 12-bar blues as focused on the guide tones (3rds and 7ths). For dominate chords, all guide tones are tritone (flatted fifth) intervals. To transition from I to IV slide them down a semitone. To transition from I to V slide them up a semitone. It’s a cool sound thats conducive to chromatic melodic ideas that can break out of worn out scales and licks.

    I think most forum members know what I’m talking about, but for those who don’t here’s an example of dominate blues tritones.


    Of course, dominate I IV Vs can get tiresome, so to spice things up you can bring in all the substitutions and turnarounds from the great American songbook and Jazz lexicon, as long as they work with the melody. If melody is King (as in playing heads) the guide tones of whatever chords you’re playing need to make sense for that melody. If the chords are King (as in jamming) the soloist uses those guide tones and the bass line for inspiration.

    That’s about as deep as I go with blues theory. Other than that, I just try to listen and respond.

  13. #112

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    This subject comes up now and again for some reason. Actually there's no reason why treating the 1 chord as a major when it's written as a dominant shouldn't work. The M7 note is heard in the other chords and one sort of expects the 1 chord to be major. In any case it's not usually lingered over. The M7 note isn't generally forced repeatedly over the b7 although actually it could be a little. Also the M7 note of the other two dominants has a direct relation to all the other chords too, like F# over C7 is a #11 and C# over G7 is a b5, etc.

    Personally I think it's probably the technical brain that says 'it's theoretically wrong so it is wrong'. But if one plays it and experiments with it, it works just fine. Nice 'n jazzy :-)

    This isn't that jazzy, but it's very pretty

    Last edited by ragman1; 12-05-2019 at 03:54 PM.