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  1. #451

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    Erm, unvaluable or invaluable? Big difference!

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #452

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    haha sorry for my English

  4. #453

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    Quote Originally Posted by pedro-sanz
    haha sorry for my English
    Your English is fine.

  5. #454

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    Quote Originally Posted by pedro-sanz
    Not sure if this has been commented in this forum, there is a digital version of the Mickey Baker book (the one with yellow cover) in Apple Books, perfect for the ipad.

    I am newcomer to guitar and love jazz since I was a child, for some reasons I never had the chance to learn music, I am self taught and progressing with this amazing book ( after trying other methods). I am analysing every detail and trying hard to learn the theory, I have advanced really a lot, now at lesson 15.

    my method is this: I created a Word doc where I paste every lesson and chord progression one by one, I write notes to every detail, paste theory to support each exercise, write the harmonic analysis, paste the graph of every chord at granular level with the intervals shown and inversions. So far I have around 96 pages explaining everything. I use the metronome and follow the very valuable tips share in this thread including the explanations given by Michael Joyce at Mickey Baker and the videos made by Rob at Rob MacKillop ~ Musician, invaluable resources! I can share the chord figures with intervals I someone is interested.

    I am enjoying this a lot, not sure if this will take me two years to complete but this is a phenomenal process. Thanks everyone for this support !
    Chord figures with intervals would be great
    I am working through the book again and really enjoying the chord progressions


    Sent from my Redmi Note 7 using Tapatalk

  6. #455

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    for many that were Pre-Tech (internet) Baker was the Book..

    I was in the "I want to know everything" stage..and as suggested I wrote out all exercises in all keys and went through the book twice so yeah it was a two year study 52 lessons -one a week
    and I learned basic music reading and writing in the process ..with some theory and harmony..

    It was lucky to be in a community of musicians and found other guitarist to play/experiment with every day..for hours!! ..so the lessons were reinforced with actual playing with other musicians

    I learned alot from advanced guitarists who were already into jazz blues and prog rock at the time

    the Baker book was/and still is a good primer to get you started in jazz and music in general

  7. #456

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    Quote Originally Posted by android
    Chord figures with intervals would be great
    I am working through the book again and really enjoying the chord progressions
    Here I attach the pdf with all of the chords with intervals, I have kept the book order and added some variations as suggested by Michael Joyce in his website.
    If you find a typo pls let me know so that I can update and re-upload.
    Mickey-Baker-chords-v1.pdf

  8. #457

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    Nice. Thank you.

  9. #458

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    Quote Originally Posted by pedro-sanz
    Here I attach the pdf with all of the chords with intervals, I have kept the book order and added some variations as suggested by Michael Joyce in his website.
    If you find a typo pls let me know so that I can update and re-upload.
    Mickey-Baker-chords-v1.pdf
    That's a great format. Look at number 12 on book 2, there is no 7th in that chord labeled Cmaj7(9). As it is diagrammed, I'd call it C(add9)

  10. #459

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    I would love to see your Word document! That would be VERY nice of you to share!

    Best,
    Bill R.

  11. #460

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    @jdazey:
    thank you

    @fep:
    Thank you for your comment. Book 2 Chord 12 Mickey is calling this a "Cmaj9". I agree with you that it sounds more correct to call it Cadd9 since it is a triad plus the 9th. I have updated the file, here attached again.

    @Bill R:
    I am not using Word to create the graphics, I use the Mac app called Curio which is fantastic, then I paste all the diagrams as images in Word. If you have Curio I have no problem to share the native file, just let me know.
    Attached Images Attached Images

  12. #461

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    Hi,

    I'm stuggling to understand these chords - in term of why the sit where they do in relation to a root note. For example why does D13b5b9 sit where it is? Feel I just need a hook to got to when transposing up the neck (like the string six fret for maj6/7 min 6/7 etc).

    Any help/hints/tips would be great

    Thanks

    Jim

  13. #462

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    Okay, Jim, this is a celebrated chord in this book. It is rootless - the root of the chord is missing. This sometimes happens when you have a lot of altered notes. The b9 is on the 5th string, fret 6. The root of the chord is D, 5th string, fret 5 - only one fret below the b9. I hope that helps you place it.

    Let's transpose it down a tone, so C7 goes to F. We want to play C13b5b9, so need to place the b9 (played with the third finger) a fret above the C. Does that make sense to you?

    Another way to look at D13b5b9 is that it is just a variant of D7, which naturally goes to G - G6 or GMaj7, for example. You could just think G (3rd fret, string 6) and then place your first finger one fret higher to play D13b5b9. So, wherever the chord is that is after the 13b5b9, just go one fret higher for the 13b5b9.

    Back in the key of F...F is the chord we are heading to, say FMaj7. Place your C13b5b9 chord one fret higher, fret 2, then go down a fret to play the F Maj7.

    Comprende?

  14. #463

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    Here are the fret numbers for C13b5b9 going to FMaj7. x = don't play or mute this string.

    2 4 x 3 5 5

    1 x 2 2 1 x

  15. #464

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    Rob, thanks very much, that's brilliant - just what I needed. I've been enjoying trying to figure some of the stuff out in the book, but needed to be led through on that one.
    Thanks again
    Jim

  16. #465

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    Cheers, Jim.

    Just going a little deeper, we could treat the Ab on string 6 as the root of an Ab7#9 - exactly the same fingering as Mickey's D13b5b9.

    Why would we do that? It's a tritone substitution. What? For those who don't know, you can replace any V7 chord with a V7 chord three tones away (hence tritone). So, for a 251 sequence in G Major: Am7/Ab7#9/GMaj7

    Sometimes it's easier to think of it that way. Play a ii chord from the root, flatten it for a tritone dominant, flatten again for the root of the I chord.

    I'll stop here, because any further complication will, erm, complicate things.

  17. #466

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    Hello everyone. I beginning Lesson 5 and am curious if I should play the chord progressions at the 1st fret or the 13th fret? I believe they would both work (by playing the open string Fma6 at the 1st fret) so perhaps I should play them in both positions? I appreciate any insight you have.

    Thank you in advance.

  18. #467

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    I did it at the first fret. Though it wouldn't hurt to practice in both places.

  19. #468

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    Ditto.

  20. #469

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    Okay, will do. Thank you both!

  21. #470

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    Let's beging this method from Madrid.....one cuestion. It's muy third week with lesson 2. It's not easy...what lessons do you think are the most difficult?
    Last edited by Oligreen; 01-01-2021 at 01:13 PM. Reason: Complete

  22. #471

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    Hello everyone. I'm on Lesson 5 and have transposed the Lesson 4 exercises to the Key of F. Would it be appropriate for me to post my transposition here and ask someone to review it for me? I believe I did it correctly but another set of eyes would help me greatly before I transpose to Ab and Bb. I know this should be simple but I do not have a lot of experience with this so I would appreciate the help.

    I prepared it in a Word table so I believe I could just post it into a message and the format should hold.

    Please let me know and I appreciate the feedback in advance. Thank you.

  23. #472

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    No reason not to post it. And it'll help the next player who comes along.

  24. #473

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    Thanks Allan. I appreciate the response.

    If anyone is interested, I can post Ab and Bb once I'm finished. I could also provide a link to the Word or PDF document.

    Thank you for taking the time to help me out!

    LESSON 5 – KEY OF F
    F
    Fma7
    Fma6
    Fma7
    Gmi7
    Gmi6
    Gmi7
    C13b5b9
    Fma7
    Fma6
    Gmi7
    Gmi6
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    Fma7
    Abmi7
    Gmi7
    C13b5b9
    Ami7
    Abmi7
    Gmi7
    C13b5b9
    Fma7
    Fma6
    Gmi7
    Gmi6
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    Fma7
    Fma6
    Cmi7
    Cmi6
    Bbma7
    Bbma6
    Bbmi7
    Bbmi6
    Ami7
    Abmi7
    Gmi7
    C13b5b9
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    Fma7
    Fma6
    Gmi7
    Gmi6
    Ami7
    Abmi7
    Gmi7
    C13b5b9
    Fma7
    Cmi6
    Bbma7
    Bbmi7
    Ami7
    Abmi7
    Gmi7
    C13b5b9
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    Fma7
    Fma6
    ./.
    ./.
    ./.
    ./.
    Cmi7
    Cmi6
    Fmi7
    Fmi6
    ./.
    ./.
    Fma7
    Gmi7
    Ami7
    Abmi7
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    //
    Gmi7
    Gmi6
    Gmi7
    C13b5b9
    Fma7
    Cmi6
    Bbma7
    Bbmi7
    Ami7
    Abmi7
    Gmi7
    C13b5b9
    //
    //
    //
    //
    /
    /
    /
    /
    /
    /
    /
    /

  25. #474

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    Looks good to me, even found an error in my transcription

  26. #475

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    Awesome. Thank you for reviewing this for me!

    Off to transpose to Ab and Bb.

  27. #476

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    Hi. I'm transcribe the lesson 4 to BIAB to check lesson 5 and I can't write AMaj6. Someone can help me?

  28. #477

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    Please can somebody help me here:
    this is Lesson 23, exercise 9.

    I can't understand what is the harmonic function of the progression starting in C13b5b9. I am not sure if this is a change of key (I think so), but cannot figure out the function of that Fmaj7 and also the Ebmaj7. At the end it goes back to a "standard" G mayor progression, but those two chords I have no idea where they come from.
    Mickey Baker's Complete Course in Jazz Guitar-pic-mickey-baker-png
    thanks
    Pedro

  29. #478

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    Quote Originally Posted by pedro-sanz
    Please can somebody help me here:
    this is Lesson 23, exercise 9.

    I can't understand what is the harmonic function of the progression starting in C13b5b9. I am not sure if this is a change of key (I think so), but cannot figure out the function of that Fmaj7 and also the Ebmaj7. At the end it goes back to a "standard" G mayor progression, but those two chords I have no idea where they come from.
    Mickey Baker's Complete Course in Jazz Guitar-pic-mickey-baker-png
    thanks
    Pedro
    I can't answer your questions about what is functioning as what. There are plenty of other people here who can. However, I can tell you that this is the progression to "How High the Moon," but you probably already knew that.

  30. #479

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    Okay, there are 16 bars in the top line, and those 16 bars are repeated 8 bars each in the following two lines. They match up: measure 5 is F, measure 7 is Fm, measure 9 is EbMaj, etc.

    You might have not noticed that?

    So the Eb is just part of the original song chord chart.

    C13b5b9 is just a posh version of C7, which naturally goes to F. Don't compare everything to G Major. As soon as you see a V7th chord, look for the 1. It might not be there, but in this instance it is. So that is a key change to F major.

    The rest of the chords follow the original 16 bars of the top line. In the last two bars he adds a ii chord (Am7/6) before the V chord of D7 (D13b5b9).

    Re-reading your post, I think you are comparing every chord to G Major, and I wonder how you got so far in the book with that analysis.

  31. #480

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    What Rob said above.

    It is standard treatment of harmonic ornamenting, faking something out of nothing.
    Major chords are played as Maj7 to Maj6. Before each Maj chord you can insert it's V7, to each V7 you can add other extensions, before each V7 you can add IIm7 ...

    All in all, it is one example of standard Jazz practice, as it was done some 60 - 100 years ago.

    My Band camp

  32. #481

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    Thank you Rob, now I see it.
    I was not comparing all to G , point is the change to Fmaj did not make sense to me when I saw the Ebmaj... so there are those two key changes and then back to G.
    Now it also make sense the Lesson 22 "Endings" that contain movements of chords sometimes all of them in maj7.

    I am alone studying this book and grabbed a guitar for the first time (literally) 1.5y ago, sorry guys for the dumb questions.
    So happy you could help me!

    Now I plan to start all over again and memorize the progressions, then I will attack the soloing part, I am a bit afraid of the need to read music in the second part of the book.
    Any suggestions on learning to read notation? is it correct to just continue with the soloing part or would it be better to learn notation from other source?
    what would you recommend?

  33. #482

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    Quote Originally Posted by pedro-sanz
    Any suggestions on learning to read notation? is it correct to just continue with the soloing part or would it be better to learn notation from other source?
    what would you recommend?
    Mickey Baker's book does have the string and fret notated for the notes. So you can do part 2 without already knowing how to read music. You will learn a bit about reading music by going through part 2.

    A better book for learning to read music on guitar is a modern method for guitar volume 1 by William Levitt.

    Edit: Oops, finger not fret. See Rob's post below. So, it would be really hard to learn to read from the Baker book. Shows you what I know. I came to the book already knowing how to read so I ignored those fret and string numbers. I just took a quick look and saw the first note of Ex. 1 as S. 5 and F. 3 for that C note and from that jumped to my conclusion. Turns out that is the 5th string and 3rd fret, that's my defense and I'm sticking to it.
    Last edited by fep; 02-21-2021 at 02:44 PM.

  34. #483

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    What fep said, as regards reading. Leavitt's book is very thorough and might take a couple of years to get through, but you will be set for life!

    There are no dumb questions, though you will often get dumb answers, so get yourself a good teacher, either local or online. If you can't afford a teacher, we are here to give the occasional guidance, but it's a haphazard way of learning.

    Above all, listen, listen, listen. I suggest Charlie Christian and Lester Young, two birds of a feather. Their language was known to Mickey Baker, and is very clear.

  35. #484

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    Quote Originally Posted by fep
    Mickey Baker's book does have the string and fret notated for the notes.
    Dear fep, your more avant-garde fingering might stem from this misunderstanding. MB shows string and FINGER numbers, not frets. Just gently pulling your leg...

  36. #485

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    Quote Originally Posted by pedro-sanz
    Thank you Rob, now I see it.
    I was not comparing all to G , point is the change to Fmaj did not make sense to me when I saw the Ebmaj... so there are those two key changes and then back to G.
    Now it also make sense the Lesson 22 "Endings" that contain movements of chords sometimes all of them in maj7.

    I am alone studying this book and grabbed a guitar for the first time (literally) 1.5y ago, sorry guys for the dumb questions.
    So happy you could help me!

    Now I plan to start all over again and memorize the progressions, then I will attack the soloing part, I am a bit afraid of the need to read music in the second part of the book.
    Any suggestions on learning to read notation? is it correct to just continue with the soloing part or would it be better to learn notation from other source?
    what would you recommend?
    I learned to read music (decipher would actually be a better word) and learned the notes on the fret board using part 2 of Baker's book. It can be done. It just takes a lot of patience.

    I used this online game to drill the lines and spaces of the staff. Finding the notes on the fret board was the hard part for me.
    Notably Quick Guitar

  37. #486

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    Quote Originally Posted by Rob MacKillop
    Dear fep, your more avant-garde fingering might stem from this misunderstanding. MB shows string and FINGER numbers, not frets. Just gently pulling your leg...
    I made sort of a correction. I looked at the 1st note of Ex. 1 and jumped to a conclusion. Happens to be C on the 5th string labeled as S. 5, F. 3. Well string 5 and fret 3 is that C note.

  38. #487

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    Just commenting to start following as I started in with the baker book this week.

  39. #488

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    Hello everyone. Just started on book 1 last week, still learning and memorizing the 26 chords forms. Just playing the chords as written is the easiest part, but looking at the composition of the chords (finding the root, 3rd, 5th, 7th, etc), and remembering the notes up and down the fretboard is a challenge.

    Wondering if you guys went through the effort of learning the chords in various keys? Since we're now jazz guys, we're going to see a lot of songs written in horn keys - F, Bb, Eb - and not so much guitar keys like G and D.
    Did you test yourself by, for example, trying to play all 3 ma7 chords in Bb? Or how to play the D11 shape in F?

    Anyway, glad to be here among my peers!

  40. #489

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    I started with lesson two. You actually transpose progressions later in the book so just learn the chords then when you use them. And you know, it's guitar, you just move the shape to the right fret.

    Maybe someone who is a competent jazz player will tell you otherwise, I'm just a guy who's also working through the book.

  41. #490

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    Quote Originally Posted by Pittpanther
    Hello everyone. Just started on book 1 last week, still learning and memorizing the 26 chords forms. Just playing the chords as written is the easiest part, but looking at the composition of the chords (finding the root, 3rd, 5th, 7th, etc), and remembering the notes up and down the fretboard is a challenge.

    Wondering if you guys went through the effort of learning the chords in various keys? Since we're now jazz guys, we're going to see a lot of songs written in horn keys - F, Bb, Eb - and not so much guitar keys like G and D.
    Did you test yourself by, for example, trying to play all 3 ma7 chords in Bb? Or how to play the D11 shape in F?

    Anyway, glad to be here among my peers!
    My recommendation: I wouldn't spend time on lesson 1 because all the chord shapes are introduced a few at a time throughout the 1st half of the book. Just learn them when they are presented. Regarding different keys: Mickey will have you doing that soon enough.

  42. #491

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    This is what I've been doing so that's good to hear, I'll learn them much faster in exercises / progressions.

    Re: the progressions starting in Lesson 4/ Lesson 5.

    In lesson 5 re: transposing Mickey says to memorize them, in terms of what to memorize/ understand about those?


    • Is it the motions of moving between those new chord shapes fluidly? (assume yes)
    • Is it important to memorize what the chords they are 'replacing' are, the 'old chords'? (yes?)
    • To be able to play through them all without the 'charts'? (yes?- or maybe with only the old chords- e.g. you know the substitutions by heart)
    • Should I understand why these chords are the important ones to learn in a given key to start? (Like do they fit together in a scale? are they just the most prevalent idiomatic jazz chords? I recognize the sounds but I don't really understand why these chords in particular are the ones that are getting substituted or what I should be memorizing.)
    • Lastly should I know what the 'makeup' of each chord is ? I find that confusing, especially voicing with no root like the D13b5b9


    Or don't worry about the above and stick to the letter of the book?

    I'm finding it relatively easy to learn the chord shapes but I know they will stick with me better if I understand a little more of the why. Appreciate everyone's patience I can see versions of these questions being asked before.

    thanks.

  43. #492

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    Quote Originally Posted by Hardscrabble
    This is what I've been doing so that's good to hear, I'll learn them much faster in exercises / progressions.

    Re: the progressions starting in Lesson 4/ Lesson 5.

    In lesson 5 re: transposing Mickey says to memorize them, in terms of what to memorize/ understand about those?


    • Is it the motions of moving between those new chord shapes fluidly? (assume yes)
    • Is it important to memorize what the chords they are 'replacing' are, the 'old chords'? (yes?)
    • To be able to play through them all without the 'charts'? (yes?- or maybe with only the old chords- e.g. you know the substitutions by heart)
    • Should I understand why these chords are the important ones to learn in a given key to start? (Like do they fit together in a scale? are they just the most prevalent idiomatic jazz chords? I recognize the sounds but I don't really understand why these chords in particular are the ones that are getting substituted or what I should be memorizing.)
    • Lastly should I know what the 'makeup' of each chord is ? I find that confusing, especially voicing with no root like the D13b5b9


    Or don't worry about the above and stick to the letter of the book?

    I'm finding it relatively easy to learn the chord shapes but I know they will stick with me better if I understand a little more of the why. Appreciate everyone's patience I can see versions of these questions being asked before.

    thanks.
    I'd say yes to all of the above, but all this stuff will come to you gradually as you work thru the book.

    One thing I'd suggest is that you learn the Roman numeral system for labeling chords in a progression. There are plenty of free resources for that online. It will make transposing to different keys very easy and will help you recognize commonly occurring progressions.

    Get "The Real Book" or lead sheets for songs you like and start applying Mickey's substitutions. You'll soon see that the chord progressions Baker is showing you occur in song after song. Application is the key to all of this.

    It looks like an overwhelming amount of things to learn right now. Just work through the book and little by little all these things will become clear. Don't try to understand everything at once. Hearing and recognizing progressions is far more important than understanding them at an intellectual level.

  44. #493

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    Quote Originally Posted by Jack E Blue
    I'd say yes to all of the above, but all this stuff will come to you gradually as you work thru the book.

    One thing I'd suggest is that you learn the Roman numeral system for labeling chords in a progression. There are plenty of free resources for that online. It will make transposing to different keys very easy and will help you recognize commonly occurring progressions.

    Get "The Real Book" or lead sheets for songs you like and start applying Mickey's substitutions. You'll soon see that the chord progressions Baker is showing you occur in song after song. Application is the key to all of this.

    It looks like an overwhelming amount of things to learn right now. Just work through the book and little by little all these things will become clear. Don't try to understand everything at once. Hearing and recognizing progressions is far more important than understanding them at an intellectual level.
    Thanks and makes complete sense and I am familiar with the number system from (gasp) my background in bluegrass, I'll start incorporating that into the chord patterns. I'll follow this approach, and I have been working out of the realbook learning standards before starting the book.

    Maybe this is another thing that I will understand as I work through and not worth worrying about, but how small a section might I splice over a standard (individual chords, two chord phrases, the whole progression etc.), meaning are the substitutions often dictated by leading tones into the next chord- so use these substitutions in lesson 4 or 5 in instances where the progression is very similar only and 'complete' or, maybe another way to ask this is would it be counterproductive (to take the first example in lesson 4) to start just substituting over two bars of G (or whatever the I chord is) whenever it comes up a half bar each of G, Gma7, Gma6, Gma7, or only use those instances where the D7 (or dominant V- am i using these right?) follows as in the example, or only 'incorporate' when I see the whole progression.

    Anyway I realize the point is to just start getting the progressions in my ear/ fingers but it will help me to understand how big the 'building blocks' are if that makes sense.

  45. #494

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    Quote Originally Posted by Hardscrabble
    Thanks and makes complete sense and I am familiar with the number system from (gasp) my background in bluegrass, I'll start incorporating that into the chord patterns. I'll follow this approach, and I have been working out of the realbook learning standards before starting the book.

    Maybe this is another thing that I will understand as I work through and not worth worrying about, but how small a section might I splice over a standard (individual chords, two chord phrases, the whole progression etc.), meaning are the substitutions often dictated by leading tones into the next chord- so use these substitutions in lesson 4 or 5 in instances where the progression is very similar only and 'complete' or, maybe another way to ask this is would it be counterproductive (to take the first example in lesson 4) to start just substituting over two bars of G (or whatever the I chord is) whenever it comes up a half bar each of G, Gma7, Gma6, Gma7, or only use those instances where the D7 (or dominant V- am i using these right?) follows as in the example, or only 'incorporate' when I see the whole progression.

    Anyway I realize the point is to just start getting the progressions in my ear/ fingers but it will help me to understand how big the 'building blocks' are if that makes sense.
    Hi Hardscrabble and everyone. I've just returned to Mickey's book after a few years so decided to check out this thread. I'm currently working in section two but, from what I remember of Lessons 4/5, I think each exercise (between the repeats) is a standalone example of a standard chord(s)-for-chord substitution. I don't think they are meant to connect in the way you are suggesting. In terms of voice leading, something I noticed is that Mickey generally uses minor chords to sub for dominant sevenths except towards the end of a progression where he uses a tension chord such as the 13b5b9 before returning home. I also find it useful, as Mickey suggests later in the book, to view the Gma6 chord as an Em7 and the Ami6 as a D9. These subs make for a very smooth way to play the old I-vi-ii-V progression (example 7). Oh yeah, as you probably noticed, the second to last example is a rhythm changes A section (what Mickey later calls a vamp) and the last example a blues where Mickey shows how all the subs work in the real world. I really enjoyed lesson 4!

  46. #495

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    Does anyone know why Mickey uses a B7 run in bar 12 of the Blues Solo, Book 1, Lesson 36 (other than it sounds cool)? Is he using some convention (like the b5 sub convention) I'm not aware of or just his ears?

  47. #496

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    It's the turnaround bar, which would normally head back to G6. Now, the notes of G6 are GBDE. If we put the E first: EGBD we have Em7, for which B7 is the dominant. Cool indeed!

    Edit: Some people don't like spelling a 6 chord with the 5th included. So, for those sensitive souls, G6 = GBE. Put the E first and we have Em: EGB, for which B7 is the V7. Still works. Still cool.

  48. #497

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    Quote Originally Posted by Rob MacKillop View Post
    It's the turnaround bar, which would normally head back to G6. Now, the notes of G6 are GBDE. If we put the E first: EGBD we have Em7, for which B7 is the dominant. Cool indeed!

    Edit: Some people don't like spelling a 6 chord with the 5th included. So, for those sensitive souls, G6 = GBE. Put the E first and we have Em: EGB, for which B7 is the V7. Still works. Still cool.
    Nice! Thanks Rob.

  49. #498

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    Quote Originally Posted by rbcampbell1 View Post
    Does anyone know why Mickey uses a B7 run in bar 12 of the Blues Solo, Book 1, Lesson 36 (other than it sounds cool)? Is he using some convention (like the b5 sub convention) I'm not aware of or just his ears?
    I like Rob's explanation that it's the V of the vi and the vi is a sub for the I. There's yet another way to look at it: I have a note in my book that the notes in that measure equal a D13b9. As a person who doesn't know much music theory I'm constantly amazed at how seemingly unrelated chords are actually related to each other.

  50. #499

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    Both explanations are right, but yours is better as it functions as the V of G. But sometimes it helps to see weird extended chords as simple major or minor triads.
    Last edited by Rob MacKillop; 04-13-2021 at 12:02 PM.

  51. #500

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    Quote Originally Posted by Rob MacKillop View Post
    Both explanations are right, but yours is better as it functions as the V of G. But sometimes it helps to see word extended chords as simple major or minor triads.
    I'm beginning to appreciate that the more ways one can see these relationships the more they can be understood.