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I would not look at the chord symbols but rather listen to changes... Naima is pretty simple tune imho if you go through it by ear.
I do not discard of course anything that is said above... it could be the way too. But in his particular case it is overcomplication imho.
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03-10-2020 05:01 AM
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Old thread, but Naima is ALL major type chords over pedals.
I play it up a half step
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Yes I think Jeff is right. It’s all major sevenths and triads over bass notes. There’s also a maj7+5 iirc. I’d need to revisit it’s been a while since I looked at this tune (like over a decade)
usually this approach sounds a lot better than a scalic approach on this tune. I think this would also be a great tune for Jordan’s quadrad approach .
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So something like:
Dbmaj7/Eb | Fmaj7/Eb | Amaj7/Eb Gmaj7/Eb | Abmaj7 ||
Bmaj7/Bb | E/Bb | Bmaj7/Bb | E/Bb |
Dmaj7#5/Bb | Bmaj7/Bb | Abmaj7/Bb | Gb13 (not sure what I did for that)
lots of third relations
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All those minor 9s in the Real Book chart are really the relative major7s. So Bbmin9 = Dbmaj7, etc. mr. beaumont's post covers it.
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Originally Posted by christianm77
Yes, this is pretty similar to how I hear it:
So over Eb: Dbmaj7 | Gbmaj7 | Amaj7 Gmaj7 | Abmaj7 :||
Then over Bb: Bmaj7 | Abmaj7#5 | Bmaj7 | Abmaj7#5
Dmaj7#5 | Bmaj7#5 | Abmaj7#5 | Emaj7
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Had a few minutes here, so let me lead with saying that what's cool about maj7#5 chords is they have a major triad based off their 3rd built right into them.
Some of these chords imply some other things...I'll post more fluently later during my lunch break, when I can grab a guitar.
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Originally Posted by ragman1
i don’t have a lot of time to play for fun atm so I haven’t been able to dig into it much. I would probably start with those superimposed chord tones and go from there.
but I generally like small pitch sets than you for improv.
beyond that, I’d have to check out some solos I liked over it. And probably learn to play bop on it as well.
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Christian -
Remember this? I actually sat all the way through this one. Very nice, and you looked so-o-o happy at the end. I don't know what you were doing (you can tell me if you like) but it was pretty good.
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Originally Posted by ragman1
Not sure what’s going on there. Maybe I’m taking chord scales and breaking them up into funny intervals?
that was something I was into in 2016 iirc
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Originally Posted by christianm77
A lifelong process.
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Originally Posted by EDesa
The chords you have listed as Amaj7/Eb and Gmaj7/Eb appear in some charts as B13/Eb and A13/Eb, which sounds better to my ear.
Also, the Bm9(maj7)/Bb I think appears as E13/Bb. The problem of mode selection seems simpler if you think of these chords as altered 7th chords.
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Eric Dolphy, way ahead of his time. He stays surprisingly close to the harmony and the melody here. Wonderful.
the enclosure of the major chord b9Maj7-7Maj7-rootMajor7 should really be used and called “the Naima Sequence”.
there, I said it!
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JC's instructions for you kids.
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So who changed it to the Real book version Bbm7 - Eb7 etc etc? And why?
And has he written petal instead of pedal? That's quite sweet :-)
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This one gets it right.
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Originally Posted by Durban
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So how did the Real Book version of the chords come about? Anyone know?
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Originally Posted by ragman1
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Why? Why change Coltrane? I suspect this might be a rhetorical question...
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Originally Posted by ragman1
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Go over to theory and just skip thru a few threads of folks trying to decide how to name a chord. Maybe it has something to do with that? I don't have what it takes to compare Dflat maj 7/ Eflat to Bflat 13 flat 9.
What a silly 'system'.
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To be fair, he only wrote a few M7's out, the rest are just note clusters without names. So, as you say, we can spend pages worrying over their names. Can't play them on a guitar anyway!
But they changed DbM7 - GbM7 to Bbm7 - Eb7 which seems a bit odd.
Or (simplifying it because I'm very basic) that's C to F in the key of G with a D pedal. Which I don 't think means anything at all, it's just a sound. Or it's a quartal chord... and he did the same kind of thing later with an aug triad.
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Coltrane wrote them out in close position, but it might not necessarily follow that that's way they have to played...
Not really sounding very 'jazzy'. Is it in the...
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