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I would love to see your Word document! That would be VERY nice of you to share!
Best,
Bill R.
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10-18-2020 03:52 PM
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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.
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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
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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?
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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
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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
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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.
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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.
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I did it at the first fret. Though it wouldn't hurt to practice in both places.
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Ditto.
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Okay, will do. Thank you both!
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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
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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.
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No reason not to post it. And it'll help the next player who comes along.
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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 FFFma7Fma6Fma7Gmi7Gmi6Gmi7C13b5b9Fma7Fma6Gmi7Gmi6////////////////////////Fma7Abmi7Gmi7C13b5b9Ami7Abmi7Gmi7C13b5b9Fma7Fma6Gmi7Gmi6////////////////////////Fma7Fma6Cmi7Cmi6Bbma7Bbma6Bbmi7Bbmi6Ami7Abmi7Gmi7C13b5b9////////////////////////Fma7Fma6Gmi7Gmi6Ami7Abmi7Gmi7C13b5b9Fma7Cmi6Bbma7Bbmi7Ami7Abmi7Gmi7C13b5b9////////////////////////////////Fma7Fma6./../../../.Cmi7Cmi6Fmi7Fmi6./../.Fma7Gmi7Ami7Abmi7////////////////////////////////Gmi7Gmi6Gmi7C13b5b9Fma7Cmi6Bbma7Bbmi7Ami7Abmi7Gmi7C13b5b9////////////////
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Looks good to me, even found an error in my transcription
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Awesome. Thank you for reviewing this for me!
Off to transpose to Ab and Bb.
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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?
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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.
thanks
Pedro
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Originally Posted by pedro-sanz
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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.
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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
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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?
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Originally Posted by pedro-sanz
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.
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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.
Kenny Burrell Trio (1990)
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