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  1. #51

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    That's awesome Fep! I really appreciate it. I'm going to work on this and I really liked the way you are playing this tune. If you get time I would love to hear a full version.

    I have a question on chord melody that is causing me confusion.

    Generally speaking, how do you play chord melody when a melody note like a whole note taking up the full measure does not make up a note of the respective chord? Or in this instance, a dotted half note in 3/4 time.

    In the 7th measure with the A-7b5 chord with the high D being the melody note held for a dotted half note. To the best of my knowledge a D is not in an A-7b5 chord.

    I think this is correct below?
    Amin7b5
    1-b3-b5-b7
    A - C - Eb - G

    When this occurs I hit a roadblock in my efforts to play both the melody and the chord at the same time??? Could really use some help. My gut is telling me that there is an alteration or perhaps another chord substitute or voicing that I could use that would include the D note? Is this what I need to begin looking at? I hope I'm making sense.

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by fep
    That's awesome.
    Thanks fep. We enjoyed that, then he got tired of it. It was a favour to me for us to record it, then my hubby had to start clattering the dishes about at the same time.

  4. #53

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    OK, I recorded melodic rhythms study #1 today - have been working on this for weeks, but you wouldn't know it for hearing it.

    melodic rhythms 1.mp3 - File Shared from Box - Free Online File Storage

    I had done a previous recording - slow and with metronome, that was just wo awful, so today I decided to try my hand without the metronome, and see what my rhythm's like without it. Answer - fairly bad! With the recording I posted here, I did the chords first, then played the melody over. Not perfect, but not nearly as bad as when I recorded the melody unaccompanied.

    Anyway, I post here so I can say I'm done with that page and moving on. That study was really fiddly, and I think probably they all are.

    Will: I'm looking forward to hearing Misty!

  5. #54

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    Quote Originally Posted by Will Glen
    That's awesome Fep! I really appreciate it. I'm going to work on this and I really liked the way you are playing this tune. If you get time I would love to hear a full version.

    I have a question on chord melody that is causing me confusion.

    Generally speaking, how do you play chord melody when a melody note like a whole note taking up the full measure does not make up a note of the respective chord? Or in this instance, a dotted half note in 3/4 time.

    In the 7th measure with the A-7b5 chord with the high D being the melody note held for a dotted half note. To the best of my knowledge a D is not in an A-7b5 chord.

    I think this is correct below?
    Amin7b5
    1-b3-b5-b7
    A - C - Eb - G

    When this occurs I hit a roadblock in my efforts to play both the melody and the chord at the same time??? Could really use some help. My gut is telling me that there is an alteration or perhaps another chord substitute or voicing that I could use that would include the D note? Is this what I need to begin looking at? I hope I'm making sense.
    Hi Will,

    Your spelling of Am7b5 is correct. Regarding your first question, I just use a voicing that I know and throw that melody note on top. Sometimes I have to 'invent' a voicing.

    For the Am7b5 chord I just use this voicing:

    x0788.10 this doesn't have the third which is a big no no as the third is important in defining the chord quality. I just like the way it sounds.

    Another choice: x0.10.88.10 which does have all the notes.

    Bbmaj7 x1323x

    Ebm7/Bb x14341

    Bbmaj7 Ebm/Bb Bbmaj7 Ebm/Bb

    Am7b5 x0788.10

    D7#9 x5456x to D7b9 x5454x

    Gm7 3x333x

    D7alt x5454x

    Gm7 D7alt Gm7

    C7 x35353

    Ebmaj7 x11.11.11.12.14n (this is actually a Eb69(no root))

    Ab9 x11.10.11.11x

    Cm7b5 x3434x (am I chaging the melody note here? It's been a while since I've looked at the chart)

    Bbmaj7/F 1x323x

    Gb6 2x4341 (the first finger barres diagonally covering the 6th and the 1st string)

    Gm7

    C7

    Fsus13 x8888.10

    F13 1x1231

  6. #55

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  7. #56

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    Quote Originally Posted by ten left thumbs
    OK, I recorded melodic rhythms study #1 today - have been working on this for weeks, but you wouldn't know it for hearing it.


    melodic rhythms 1.mp3 - File Shared from Box - Free Online File Storage

    I had done a previous recording - slow and with metronome, that was just wo awful, so today I decided to try my hand without the metronome, and see what my rhythm's like without it. Answer - fairly bad! With the recording I posted here, I did the chords first, then played the melody over. Not perfect, but not nearly as bad as when I recorded the melody unaccompanied.

    Anyway, I post here so I can say I'm done with that page and moving on. That study was really fiddly, and I think probably they all are.

    Will: I'm looking forward to hearing Misty!
    Have you noticed that studying from Melodic Rhythms helps with MMI? I think it's great practice and when mixing the chords with the melody makes for a good time. Good work

    Quote Originally Posted by fep
    Hi Will,

    Your spelling of Am7b5 is correct. Regarding your first question, I just use a voicing that I know and throw that melody note on top. Sometimes I have to 'invent' a voicing.

    For the Am7b5 chord I just use this voicing:

    x0788.10 this doesn't have the third which is a big no no as the third is important in defining the chord quality. I just like the way it sounds.

    Another choice: x0.10.88.10 which does have all the notes.

    Bbmaj7 x1323x

    Ebm7/Bb x14341

    Bbmaj7 Ebm/Bb Bbmaj7 Ebm/Bb

    Am7b5 x0788.10

    D7#9 x5456x to D7b9 x5454x

    Gm7 3x333x

    D7alt x5454x

    Gm7 D7alt Gm7

    C7 x35353

    Ebmaj7 x11.11.11.12.14n (this is actually a Eb69(no root))

    Ab9 x11.10.11.11x

    Cm7b5 x3434x (am I chaging the melody note here? It's been a while since I've looked at the chart)

    Bbmaj7/F 1x323x

    Gb6 2x4341 (the first finger barres diagonally covering the 6th and the 1st string)

    Gm7

    C7

    Fsus13 x8888.10

    F13 1x1231
    Thanks Fep. I'm going to be trying to incorporate looking into adding the melody note on top of the given voicing to see what happens in the situation described. Makes perfect sense after reading it and just was not sure what was happening.

    Quote Originally Posted by ten left thumbs
    The beginnings of a chord melody TLT. Good work and keep doing them finger exercises everyday. Try to get them notes without any rests in between them and I think this will really add to the tune. Maybe play a chromatic scale up the neck, one finger per fret working on stopping the note milliseconds before the other note sounds. Need less rest between notes. Talk to you later and have a good one.
    Last edited by Will Glen; 04-15-2012 at 01:34 PM.

  8. #57

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    Quote Originally Posted by Will Glen

    The beginnings of a chord melody TLT. Good work and keep doing them finger exercises everyday. Try to get them notes without any rests in between them and I think this will really add to the tune. Maybe play a chromatic scale up the neck, one finger per fret working on stopping the note milliseconds before the other note sounds. Need less rest between notes. Talk to you later and have a good one.
    Hi Will, Yes I try. Legato's easier said than done. Thanks for taking the time to comment.

  9. #58

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    Quote Originally Posted by ten left thumbs
    Nice job TLT.

    Sounds like the seed has been planted and I'll enjoy seeing this grow.

    For me, there is nothing more satisfying than writing and recording my own music. Coming up with my own chord melody to a jazz standard comes pretty close to that experience.

  10. #59

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    Thanks fep. It was more satisfying than playing something someone else had written down.

  11. #60

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    I've been working on A Child is Born this last week per Fep's recommendation. I think I will try to tackle Misty next TLT. I need to listen alot more to some recordings of A Child is Born. Do you have a favorite recording for A Child is Born Fep that you like? Let me know. I really enjoy these beautiful melodies and ballads. It's rough but I'm going to keep working on it. Right now it is about all I can do to play the melody along with interspersing some chord strumming and trying to pick our surrounding notes that go well.

    A Child is Born 4 23 2012 take II.mp3 - File Shared from Box - Free Online File Storage

  12. #61

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    That was beautiful Will.

  13. #62

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    Quote Originally Posted by Will Glen
    I've been working on A Child is Born this last week per Fep's recommendation. I think I will try to tackle Misty next TLT. I need to listen alot more to some recordings of A Child is Born. Do you have a favorite recording for A Child is Born Fep that you like? Let me know. I really enjoy these beautiful melodies and ballads. It's rough but I'm going to keep working on it. Right now it is about all I can do to play the melody along with interspersing some chord strumming and trying to pick our surrounding notes that go well.

    A Child is Born 4 23 2012 take II.mp3 - File Shared from Box - Free Online File Storage
    Cool Will,

    That sounds real nice.

  14. #63

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    Will you inspired me, I just made an attempt at it.

    A first draft, unrehearsed, I get lost and plenty sloppy.

    And it's Rubato, which is to say I'm not good enough to improvise this and play in time at the same time.


  15. #64

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    Really enjoyed it Fep. I'm going to be working on putting the melody notes on the higher strings. Talk to you later.

  16. #65

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    Quote Originally Posted by ten left thumbs
    Cool, Laura -- this tune just kills me; I never tire of it, ever. Good work, and congrats for the amazing progress you're making. Sounds good!


    kj

  17. #66

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    Here is some supplemental reading material I found recently while researching reading materials that also helps with developing technique. Pick strokes are included and very similar to what we are studying now around page 59 and what is coming with some of the reading studies.

    Check out how he teaches using the right hand to pick all downstrokes and all upstrokes as ways to develop the right hand along with alternate and down, down up etc. The all upstrokes is something I've not seen before and it after practicing all upstrokes for a period of time I can notice more fluency with alternate picking and all downstroke picking mixed with alternate picking. Try it. It really makes you economize your right hand picking motion and I you will notice how practicing all upstrokes will improve your alternate picking. The material also includes arpeggios and alot of sixteenth note rythmic work. Pretty cool material to practice a little bit each day.

    As we move to the 2nd position and begin practice stretching/shifting (depending how you approach playing in multiple positions), there is alot of etudes here that are great to work on. You can also use them to practice rolling your finger as Leavitt suggests when notes are next to each other.

    https://www.box.com/s/7eb45f86522e725f8e63
    Last edited by Will Glen; 05-03-2012 at 07:26 PM.

  18. #67

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    Will, that's incredibly helpful, thankyou.

  19. #68

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    hi ive been studing the diatonic triad and major 7th modal chords, with great pleasure, im now looking for a pdf or a book where i can find the 6ths 9th 11ths and 13ths progressions and how they work in with the modes.... thanks

  20. #69

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    Hey TLT ,I have just got hold of the songbook that accompanies the MM book and the first song is one of my favorites ,St Thomas by Sonny Rollins,i found myself being able to read it and play it straight away,now that was a shock.This has definitely given me the boost i needed,showing me that the method does work outside the book on real jazz tunes.I am now looking forward to moving on in the book with more optimism and a belief that at the end of the three books with enough hard work we will be competent sight reading musicians with a thorough knowledge of the fingerboard.What a good do.Time for a whisky i think(Glenmorangie) note the Scottish spelling of whisky that my spellchecker is saying is incorrect.
    Last edited by gingerjazz; 05-16-2012 at 06:42 PM.

  21. #70

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    Quote Originally Posted by tweed1
    hi ive been studing the diatonic triad and major 7th modal chords, with great pleasure, im now looking for a pdf or a book where i can find the 6ths 9th 11ths and 13ths progressions and how they work in with the modes.... thanks
    That's one you should figure out for yourself. Paul Desmond said an interesting thing: Jazz is like writing. It can be learned, but it can't be taught.

    If you figure it out for yourself, you will hear it, which is really the only important thing for music. You will also own it, and you will have your own take on it. Leavitt's approach to harmony is applicable to modal playing as well, I've found.

  22. #71

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    For those (like me) learning to sight-read, I think there's no better book than Leon White's *awesome* Sight to Sound. This book fits right in with Leavitt in that White advocates and teaches position playing as a way of sight-reading, and the fingerings he uses are essentially Leavitt's -- finger stretches, opposed to shifts (in caged-like systems.)

    White's book was among my dad's big trunk o' guitar junk, is from the 1970s, and was published by Dale Zdenek, original publisher of Ted Greene's great books.

    Go to abebooks.com -- there are a couple there, CHEAP. $7.98 each I thik. Check Alibris.com and Amazon. (Warning: some of Leon White's books - Styles for the Studio, for one - are going to $150 - $200. Grab this one while it's cheap.)

    This link works the day of this posting: Leon White - Sight to Sound - Zdenek - AbeBooks

  23. #72

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    Leon White is a very cool dude.

  24. #73

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    Quote Originally Posted by ronjazz
    Leon White is a very cool dude.
    His book "Styles for the Studio" is possibly my favorite guitar book. What a shame it isn't in print -- or did they bring it back? A few of the old DZ books they re-published, thank God. This one is worth its weight in gold.

    At abebooks and Alibris.com, I've seen it for $160, $225, etc. A little staple-stitched book!

    (White says, "There is but one way to pick the strings of a guitar." (Elbow, floating, etc. He's big on rules.)

    Yes - cool.

  25. #74

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    Thanks for the lead Kojo. Sounds like a good one to practice with. Ordered a copy to practice as a supplement to Leavitt.

  26. #75

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    Here is my "interpretation" of You're Nobody Til Somebody Loves You from the last page of the Real Book. I listened to some versions on Youtube and tried to follow the melody as best as I could and put some licks in it and tried to mix up the rhythm some. I like this tune alot and enjoy playing it.

    After listening to myself I hear myself rushing through parts and slowing down. I recorded this without a metronome.

    https://www.box.com/s/eb1b9f9924179a7c07e2

  27. #76

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    Quote Originally Posted by gingerjazz
    Hey TLT ,I have just got hold of the songbook that accompanies the MM book and the first song is one of my favorites ,St Thomas by Sonny Rollins,i found myself being able to read it and play it straight away,now that was a shock.This has definitely given me the boost i needed,showing me that the method does work outside the book on real jazz tunes.I am now looking forward to moving on in the book with more optimism and a belief that at the end of the three books with enough hard work we will be competent sight reading musicians with a thorough knowledge of the fingerboard.What a good do.Time for a whisky i think(Glenmorangie) note the Scottish spelling of whisky that my spellchecker is saying is incorrect.
    Hi Ginger, that's a great tune. Sonny is a real gem.

    Hope you enjoyed your dram. You are quite correct - whisky is the Scottish spelling. Irish spelling is whiskey.

    It would be great to know the whole fretboard, wouldn't it? Three books in three years.

  28. #77

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    Hits the spot Will! I don't hear the rushing.

  29. #78

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    Quote Originally Posted by ten left thumbs
    Hi Ginger, that's a great tune. Sonny is a real gem.

    Hope you enjoyed your dram. You are quite correct - whisky is the Scottish spelling. Irish spelling is whiskey.

    It would be great to know the whole fretboard, wouldn't it? Three books in three years.
    Hey TLT,three books in three years,that would be something,i really would not like to say if thats a practical goal or not.I suppose it might be if you can maintain your current rate of progress through it,but it all depends on if the book gets increasingly harder which it probably will.Oh well i suppose if i lay of the whisky i might just do it.Peace.

  30. #79

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    Quote Originally Posted by gingerjazz
    ...,but it all depends on if the book gets increasingly harder which it probably will....Peace.
    No that's not possible! Thumbs in ears, whistling loud. One page at a time. I think I can I know I can I think...

    off to practice

  31. #80

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    Quote Originally Posted by Will Glen
    Here is my "interpretation" of You're Nobody Til Somebody Loves You from the last page of the Real Book.
    https://www.box.com/s/eb1b9f9924179a7c07e2
    An all-time favorite of mine - makes me wanna croon and croon. : ) You play very well, Mr. Glen.


    Oh - and you got a DEAL when you bought the Leon White book. It starts as if you can't read at all and progresses through some difficult reading ("studio" level reading.) Maybe I'll work through my copy soon.

    Keep playing, man. Sounds awesome.

    kj

  32. #81

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    Quote Originally Posted by ten left thumbs
    Thought that was quite good actually, that swings.

    Improvisation is it's own discipline. I don't think there's a book that can teach you. From my own attempts over the last few years, I wouldn't especially expect anything more than that from yourself - not for a long time and not unless you get a teacher.

    Keep swingin' man!

    Frank, you're a lot handsomer now. That goonie's just not your colour.
    Hey TLT stop flirting with frank its not that sort of forum. (Only kidding i guess i am just jealous that he is better looking than me,oops im at it now).

  33. #82

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    Quote Originally Posted by gingerjazz
    Hey TLT stop flirting with frank its not that sort of forum. (Only kidding i guess i am just jealous that he is better looking than me,oops im at it now).


    A lot of friends say to me, "Wow Frank you look great."

    I feel like saying, "Compared to what? Compared to when I had cancer?" Ha ha.

    I don't though, they might not appreciate the humor. Some folks don't think cancer jokes are funny. Go figure.

  34. #83

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    Quote Originally Posted by fep


    A lot of friends say to me, "Wow Frank you look great."

    I feel like saying, "Compared to what? Compared to when I had cancer?" Ha ha.

    I don't though, they might not appreciate the humor. Some folks don't think cancer jokes are funny. Go figure.
    Yeah Frank,i know where your coming from man,as you know i too have been quite ill of late and the last thing you need is tea and sympathy,but people still steer clear of jokes about being ill,but i suppose they mean well.

  35. #84

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  36. #85

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    Thanks for reviving the thread oldhead. What a way to take a break! I wish I could play like that.

    OK, oldhead, you've inspired me. Some recordings, from 25 graded pieces of plectrum guitar (Ingram):
    https://www.box.com/s/93ea0e68169cf3ecc1d6
    https://www.box.com/s/596200c3a857cebd975e

    The waltz is a killer, and really not much of a break from Leavitt. Needs a lot of work. It would help if I knew the notes, for a start.
    Last edited by ten left thumbs; 06-15-2012 at 05:36 PM.

  37. #86

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    Quote Originally Posted by ten left thumbs
    Thanks for reviving the thread oldhead. What a way to take a break! I wish I could play like that.

    OK, oldhead, you've inspired me. Some recordings, from 25 graded pieces of plectrum guitar (Ingram):
    https://www.box.com/s/93ea0e68169cf3ecc1d6
    https://www.box.com/s/596200c3a857cebd975e

    The waltz is a killer, and really not much of a break from Leavitt. Needs a lot of work. It would help if I knew the notes, for a start.
    Okay. The waltz is more MM1 style, I guess - what I'm trying to get away from because I don't get it! I admire your chord reading. Hopefully, someday, I, too will be able to read.

    The blusey thingee got my juices flowing. I really like it, so much that I jammed with it. (I don't mean to hijack your post and will delete the jam if you want). On the other hand, I'd be thrilled if you could send me the chord progression to this so I can play along with the whole piece.

    Rather cool being able to jam with someone. I had actually mentioned early on that maybe someone could post in this thread one part of a piece and someone else could add to it.
    Thanks for posting these TLT.

    https://www.box.com/s/67d0d3965d981d2f7892

    I just listened to this with headphones and that acoustic is out a sight!
    Last edited by oldhead; 06-15-2012 at 09:39 PM. Reason: add

  38. #87

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    Hey that's great Dave! Almost as good as being able to play together. Let's do this - only better. My time-keeping wasn't great (I rushed the rests) and it caused you problems.

    I will work out the chords and post later.

    Great idea!

  39. #88

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    Quote Originally Posted by ten left thumbs
    Hey that's great Dave! Almost as good as being able to play together. Let's do this - only better. My time-keeping wasn't great (I rushed the rests) and it caused you problems.

    I will work out the chords and post later.

    Great idea!
    Super!

  40. #89

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    Hi Dave, here is my best guess at chords. Not guaranteed correct, so feel free to differ. Obviously, it's blues in G, but with some weird stuff.

    1st chorus:
    G7 | G7 | G7 | G7 |
    C7 | C7 | G7 Ab7 G7 | F7 E7 |
    C6 | Cm | Bm7 Bb7 | Am7 D7 |

    2nd chorus:
    G7 | G7 | G7 | G7 |
    C7 | C7 | G7 Ab7 G7 | F7 E7 |
    A7 | D7 | Am7 Am7b5 | D7 G |

    Bridge:
    G7 | G7 E7 | F#dim | B7 |
    Em7 | A7 | Am7 | D7 |

    3rd chorus = same as second

    I will re-record. We could post this also in the Ingram thread.

  41. #90

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    Hey TLT and Old Head --

    Uber Cool! This *would* be a fun thing to do, since we can overdub now.

    I have a really good collection of "Jazz Guitar Duets" somewhere - maybe I can find them and scan them.

    Good playing - both of you!

    kj

  42. #91

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    I like duets. Good idea.

  43. #92

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    Quote Originally Posted by oldhead
    Rather cool being able to jam with someone. I had actually mentioned early on that maybe someone could post in this thread one part of a piece and someone else could add to it.
    Hey oldhead, we jammed together at post #20 of this thread:

    https://www.jazzguitar.be/forum/getti...s-67-69-a.html

    I'm not sure you saw that.

  44. #93

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    Hi oldhead, this may be a little better:

    https://www.box.com/s/9d2a664eba4bce497b41

    I just wish I was more reliable at hitting the right notes.

  45. #94

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    Quote Originally Posted by fep
    Hey oldhead, we jammed together at post #20 of this thread:

    https://www.jazzguitar.be/forum/getti...s-67-69-a.html

    I'm not sure you saw that.
    Wow, Thanks for pointing that out FEP. I totally missed it! And very cool sounding. I wish I could solo around chords like that. Maybe I should add rhythm to TLT's and you add solo?

  46. #95

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    Now there's a good idea!

  47. #96

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    Quote Originally Posted by ten left thumbs
    Hi Dave, here is my best guess at chords. Not guaranteed correct, so feel free to differ. Obviously, it's blues in G, but with some weird stuff.

    1st chorus:
    G7 | G7 | G7 | G7 |
    C7 | C7 | G7 Ab7 G7 | F7 E7 |
    C6 | Cm | Bm7 Bb7 | Am7 D7 |

    2nd chorus:
    G7 | G7 | G7 | G7 |
    C7 | C7 | G7 Ab7 G7 | F7 E7 |
    A7 | D7 | Am7 Am7b5 | D7 G |

    Bridge:
    G7 | G7 E7 | F#dim | B7 |
    Em7 | A7 | Am7 | D7 |

    3rd chorus = same as second

    I will re-record. We could post this also in the Ingram thread.
    =======================

    Is this the chord progression you plan to use? These rhythm chords?

    If so -- who's playing bass? Frank - you play bass. I can fake it with guitar and my effects board, but it would be bone-head simple.

    ***What's the Ingram thread?

    kj

  48. #97

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    Hi Kojo

    Vic's groove is written out in standard notation in a book we have been discussing here:

    25 Graded Pieces for Plectrum Guitar

    There are no chords given. I have worked out chords as best I can, however they need a second opinion.

    For a bass-line, it may be best to ignore some of the chords, ie for a bar G7 Ab7 G7, just play G7.

  49. #98

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    Quote Originally Posted by ten left thumbs
    Hi Kojo

    Vic's groove is written out in standard notation in a book we have been discussing here:

    25 Graded Pieces for Plectrum Guitar

    There are no chords given. I have worked out chords as best I can, however they need a second opinion.

    For a bass-line, it may be best to ignore some of the chords, ie for a bar G7 Ab7 G7, just play G7.
    Oh, all righty -- I gotcha.

  50. #99

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    Quote Originally Posted by ten left thumbs
    Hi Dave, here is my best guess at chords. Not guaranteed correct, so feel free to differ. Obviously, it's blues in G, but with some weird stuff.

    1st chorus:
    G7 | G7 | G7 | G7 |
    C7 | C7 | G7 Ab7 G7 | F7 E7 |
    C6 | Cm | Bm7 Bb7 | Am7 D7 |

    2nd chorus:
    G7 | G7 | G7 | G7 |
    C7 | C7 | G7 Ab7 G7 | F7 E7 |
    A7 | D7 | Am7 Am7b5 | D7 G |

    Bridge:
    G7 | G7 E7 | F#dim | B7 |
    Em7 | A7 | Am7 | D7 |

    3rd chorus = same as second

    I will re-record. We could post this also in the Ingram thread.

    TLT, could the F#dim be a Am7. The F#dim doesn't sound right to me.
    I'm working on this but having a few tempo problems.

    And yes, what is the Ingram thread?

  51. #100

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    Quote Originally Posted by oldhead
    TLT, could the F#dim be a Am7. The F#dim doesn't sound right to me.
    I'm working on this but having a few tempo problems.
    Could be an Am7b5. Melody notes are C and Eb, then B and D, then A and C, with an A in the bass.

    And yes, what is the Ingram thread?
    25 Graded Pieces for Plectrum Guitar