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  1. #1

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    Hey guys, I’m working through a few chord progressions from an exercise book and was wondering if someone could give some context as to how they’re constructed, i.e what scales/modes are they based on?

    The first one is a basic chord exercise, while the second is Bella by Barlight in its entirety.
    Analysing these chord progressions-b2a85d3c-4944-4bba-9377-862e06a117e4-jpg
    Analysing these chord progressions-13a9cd87-5bef-4905-b0a0-670aea589fba-jpg
    Attached Images Attached Images Analysing these chord progressions-dbd1b2b2-96f4-4158-8353-c5b5203d6437-jpg 
    Last edited by Frank1985; 03-04-2019 at 04:54 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    The first one is in Ab, it's a minor ii-V to the vi chord then to the IV. this is something you could commonly see. second example is too small for me to see
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  4. #3
    Thanks joe, I’ve just updated the second attachment. Could you elaborate a bit on how this is in Ab?
    Last edited by Frank1985; 03-04-2019 at 05:36 PM.

  5. #4

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    Quote Originally Posted by Frank1985 View Post
    Could you elaborate a bit on how this is in Ab?
    Wakey, wakey, Frank. It's got an Ab key signature!!!

  6. #5
    Quote Originally Posted by ragman1 View Post
    Wakey, wakey, Frank. It's got an Ab key signature!!!
    No shit ragman, I was just asking for a breakdown as I’m just starting out and needed clarification. I’ve since looked further into it and it would have been less confusing to think in terms of Fminor rather than the relative Ab. Mr. joe could have clarified this but he appears to have gone awol.

  7. #6

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    So my question to you is (and I'm totally not being a dick)

    Once you have these chords analyzed, what do you expect to gain from that analysis?
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  8. #7

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    Quote Originally Posted by Frank1985 View Post
    No shit ragman, I was just asking for a breakdown as I’m just starting out and needed clarification. I’ve since looked further into it and it would have been less confusing to think in terms of Fminor rather than the relative Ab. Mr. joe could have clarified this but he appears to have gone awol.
    Absolutely right, I do beg your pardon. I was so busy being rude I forgot to check the chords. It does indeed look as though it's probably in F minor rather than Ab. That Mr. Joe should hang his head in shame!

  9. #8

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    While we're at it, you say you're starting and want to know what scales/modes these chord sheets are based on. Are you aware that's not a right question? I'm afraid your post is so confused that no one's bothered to answer it. I'm just being honest with you.

    What are you just starting? Jazz or music in general? Guitar or some other instrument? Or none?

    If you're just starting how do you know that the key of that first item might be F minor? Where has that excerpt come from? Why not take the whole tune? What 'exercise book'?

    Then you've put in the first 16 bars of something you call 'Bella By Barlight'. Those chords are from a well-known tune called 'Stella By Starlight'. Where did you get 'Bella By Barlight' from?

    So I agree with Mr Beaumont, who's obviously thought it out already. If this is your level of knowledge what good would an analysis do? Would you actually understand it if it were done?

    I think we should know a bit more before we start analysing the tune, not that it's difficult. So, if you wouldn't mind, be much clearer and maybe more people will respond to your post.

  10. #9

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    Wow, tough crowd! Is this the best we can do for Frank?

  11. #10

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    Quote Originally Posted by M-ster View Post
    Wow, tough crowd! Is this the best we can do for Frank?
    No, should he return I'm planning on doing much better than just giving him a list of scales and a pat on the back

    "Smoke up, Frankie!"

    Should he return...probably scared him off
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  12. #11

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    Hey Frank... sorry for tough crowd....many guitar players are bitter old men etc..

    So analysis is just musical organization.... right. Your making a choice as to...in your 1st example, the harmonic organization of the chords. There are a few choices.... but the 1st thing you need to do is make a choice as to what the basic Reference is.

    What are you going to use as the reference for labeling the chords...

    The 1st example generally uses Fmin. F- is the basic tonal reference, the I chord...So

    G-7b5.....generally the II-7b5 chord in minor (diatonic to natural Minor... Locrian scale)
    C7..........the V7 chord, ( not diatonic to Fmin. but using Maj/Min Functional Harmony for Guidelines, which incorporates the use ..............of Harmonic Minor... or just embellishment of the the 7th degree of Fmin to create a leading tone, which creates a V7
    ..............dominant chord, raise Eb to E nat.). Accepted V chord in Min harmony. Usually uses some form of altered Mixolydian.
    F-7.......... the I chord, I-7(diatonic, Aeloian)
    Dbmaj7.... the bVI chord.... (diatonic to Fmin7, Lydian).

    So that is one possibility... F- is Tonic, G-7b5 is Sub Dominant, C7 is Dominant and Dbmaj7 is sub dominant

    Obviously... you probably hear G-7b5 to C7 as a II V... a Minor II- V7... going to F-7, one of the most common Chord Patterns in Jazz... II V's generally are labeled as a (II V), and function as one chord.... and function in a dominant roll.
    They don't always, but as for labeling in analysis... most common.

    And the Dbmaj7 is still just bVI... with SD function.

    I can go on.... This is very vanilla and generally the approach that classically or traditional educated performance musicans approach playing Jazz.

  13. #12

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    My post #8 to Frank is straightforward. Nothing funny about it. I see no point in deluging him with things that are almost certainly beyond his ken before we really know where he's coming from. Nothing funny about that.

    If he'd like to come back and tell us where he is with all this we can go from there. At his level, not ours.

  14. #13

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    Quote Originally Posted by Reg View Post
    Hey Frank... sorry for tough crowd....many guitar players are bitter old men etc..
    Brilliant! Thanks, Reg!

  15. #14

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    Quote Originally Posted by Frank1985 View Post
    I’ve since looked further into it and it would have been less confusing to think in terms of Fminor rather than the relative Ab. Mr. joe could have clarified this but he appears to have gone awol.
    Frank, Ab(major) is the same as F minor.

    Also, the sharps and flats at the beginning are the Key Signature.

  16. #15

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    Yea... Ab maj is the Relative Maj of Fmin.... or Fmin is the relative Min of Ab maj. With old school theory and harmony... they have a Functional relationship... as well as the Key Signature.... But implying Fmin, or using Fmin as the tonal reference is different than using Abmaj.

    The same chord pattern using Abmaj as tonal reference would be.... Bb-7 / Eb7 / Abma7 / F-7

    So Fmin.... would be G-7b5 / C7 / F-7 / Dbmaj7... II-7b5 / V7 / I-7 / bVIma7
    Abmaj.......would be Bb-7 / Eb7/ Abma7/ F-7 ......II-7 / V7 / Ima7 / VI-7