The Jazz Guitar Chord Dictionary
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  1. #26

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    So you construct a fast line in Barrry's class - at tempo - by combining chunks. A descending scale here, an arpeggio here, a little motif, and so, right? So each beat, or two beats can be thought of as the start of a separate chunk that can be joined together.”

    I like that description. And I think there is a big difference between knowing lots of theory and being able to play lots of theory. Being able to effortlessly apply theory in improvisation is when the the player’s creative process is partly directed by his concept of theory. Many aspiring players can’t do it.
    ”You play what you know” Chick Corea replied when asked how does a musician improvise.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by christianm77
    You just have to practice. A lot. Technical skills as Reg always says.

    I'm not saying you get to play like
    It's all in the little motives and chunks. As Scott Henderson says 'don't learn anything that's more than 7 notes long.' That way you can improvise but you can do it fluidly rather than thinking/hearing every note.

    Definitely bed time now.
    All of that makes perfect sense. All the tools.

    But, I confess to not quite believing it. I hear players who can do those things and they leave me cold. I hear other players who can do those things and I want to hear more. One prescription, presented multiple times by a teacher posting on another forum, is MORE THEORY!! But, his playing left me cold. I could hear the oddly shaped pegs being forced into the holes.

    I get the feeling that, after you've gone through all the didactics and practiced them for years, at that point the Almighty is supposed to infuse your playing with melodicism and emotion - but might not.

    Not that there's necessarily a short cut.

    My inclination is to include, in one's practice regimen, some time for scat-singing and putting the lines you like on the guitar. Also, for copying lines you like by both singing them and putting them on the guitar. But, that's just my taste. I often like to hear (and prefer to play, as best I can) a singable line. I tend to prefer players who play fewer notes with what strikes me as great melody and flowing harmony. Jim Hall's ballad playing. Wes. Vic Juris when I heard him live in the last few years (although he could burn too. RIP).
    Last edited by rpjazzguitar; 03-30-2020 at 08:07 PM.

  4. #28

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    Popo. Live. Bm7 E9 vamp.

    0:10.

    I'll figure out how to get a picture eventually.

    eighths. shown here even, but not. 6 beats shown

    xx xx ox xx / ox x

    G#3 D3
    D3 G#4
    D3 G#4
    D4 D4
    G#4.

    This one caught my ear. It's 3rds and 7ths. Two octaves.

    What about this makes it stand out? Two notes.

    I think it's a European police siren of a lick. It's the tritone interval. It's the rhythmic placement. It's the way he goes up an octave.

    What else?

  5. #29

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    Quote Originally Posted by rintincop
    So you construct a fast line in Barrry's class - at tempo - by combining chunks. A descending scale here, an arpeggio here, a little motif, and so, right? So each beat, or two beats can be thought of as the start of a separate chunk that can be joined together.”

    I like that description. And I think there is a big difference between knowing lots of theory and being able to play lots of theory. Being able to effortlessly apply theory in improvisation is when the the player’s creative process is partly directed by his concept of theory. Many aspiring players can’t do it.
    ”You play what you know” Chick Corea replied when asked how does a musician improvise.
    Well if I was going to be super pedantic about it (what me?) I would say it is of course impossible to play theory. I don’t think jazz musicians are really interested in theory in the academic sense; I think what they are interested in is resources.

    Secondly Chick Corea like Barry would advise you to compose your first chorus.

    when I heard that, along with other stuff I thought; you know great musicians don’t spend time worrying about if they are doing right do they? They just grab what they need and make music

  6. #30

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    Quote Originally Posted by rpjazzguitar
    All of that makes perfect sense. All the tools.

    But, I confess to not quite believing it. I hear players who can do those things and they leave me cold. I hear other players who can do those things and I want to hear more. One prescription, presented multiple times by a teacher posting on another forum, is MORE THEORY!! But, his playing left me cold. I could hear the oddly shaped pegs being forced into the holes.

    I get the feeling that, after you've gone through all the didactics and practiced them for years, at that point the Almighty is supposed to infuse your playing with melodicism and emotion - but might not.

    Not that there's necessarily a short cut.

    My inclination is to include, in one's practice regimen, some time for scat-singing and putting the lines you like on the guitar. Also, for copying lines you like by both singing them and putting them on the guitar. But, that's just my taste. I often like to hear (and prefer to play, as best I can) a singable line. I tend to prefer players who play fewer notes with what strikes me as great melody and flowing harmony. Jim Hall's ballad playing. Wes. Vic Juris when I heard him live in the last few years (although he could burn too. RIP).
    and I respect that enormously.

    But if you want to learn to spin out these double time prog bop lines, this is the way I’d go about working on it. Tbh I think this is one aspect of jazz guitar playing that is actually pretty nuts and bolts. If you do it enough it does become intuitive.

  7. #31

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    Quote Originally Posted by rpjazzguitar


    Popo. Live. Bm7 E9 vamp.

    0:10.

    I'll figure out how to get a picture eventually.

    eighths. shown here even, but not. 6 beats shown

    xx xx ox xx / ox x

    G#3 D3
    D3 G#4
    D3 G#4
    D4 D4
    G#4.

    This one caught my ear. It's 3rds and 7ths. Two octaves.

    What about this makes it stand out? Two notes.

    I think it's a European police siren of a lick. It's the tritone interval. It's the rhythmic placement. It's the way he goes up an octave.

    What else?
    to upload you have the comment editor open and you use the little thing that looks like a picture next to the world with an x on it on one side and the film strip on the other. Once you’ve done that you can use the options to upload a doc from your computer.

    it’s a bit annoying, but it does work.

  8. #32

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    You can upload a picture like this as Christian says. Use the 3rd icon from the right (lower row, you can just about see it highlighted in blue below), locate the file then select ‘upload file(s)’. Like this:

    Chico Pinheiro Analysis thread-816d50b3-be65-47dd-a53e-10acbcfd658a-jpg

  9. #33

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    So just from a performance point of view... the solo section is just a somewhat extended vamp.

    Again either soloing or comping... simple 16 bar form... An "A" section with a "B"

    their 4 bars each... so... A A A B and the B section functions as a turnaround.

    The "A" section uses simple melodic line, (or line cliche) of , G F# F F#. a variation of Minor 5 #5 6 #5... the old "Secret Agent Man" thing. But expanded to W. Shorter version from 80's to G F# F F# and instead of, (in Chico's tune) using Amin. he uses the relative V chord, so

    D9sus D9 D-9 D9. The modern application also expands the harmonic tonal targets,

    D9sus become "A-7 D7" with Adorian and Dmixo... with any typical expanded relationships, to

    D9 becomes "D9 D7#11" with Dmixo to D Lydian Dom, ( Amm), to

    D-9 with whatever expansion you want

    So the Line Cliche and harmony are basically Tonal Targets... expanded... The Targets become "chord patterns" with Tonics that have multiple chords or modes.

    The "B" section is also just a variation of the Line Cliche and harmony .... "take it to the IV chord", must be a James Brown fan.... This time he uses the Line Cliche as Root motion...

    G-9 ... Simple subdominant IV-, 1st note of line cliche

    Gb7#9 (Just Sub V of...II V right, G-7 to C7) 2nd note of L.C.

    Bb13 (optional #11) the Related V7 of F-7 or 3rd note of L.C. (typ. compositional rule of changing the 3rd version of anything. and then on to the rest of variation of Line Cliche....
    A7b13... with typical expanded Dominant harmonic and lick rhythmic kicks'

    The improve is again pretty typical.... good musicians using a Standard "Form" with expanded Tonal Target types of Tonics and interacting.... and yea the Brazilian folk roots don't hurt.( all the standard rhythm licks).

  10. #34

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    Quote Originally Posted by rpjazzguitar


    Popo. Live. Bm7 E9 vamp.

    0:10.

    I'll figure out how to get a picture eventually.

    eighths. shown here even, but not. 6 beats shown

    xx xx ox xx / ox x

    G#3 D3
    D3 G#4
    D3 G#4
    D4 D4
    G#4.

    This one caught my ear. It's 3rds and 7ths. Two octaves.

    What about this makes it stand out? Two notes.

    I think it's a European police siren of a lick. It's the tritone interval. It's the rhythmic placement. It's the way he goes up an octave.

    What else?
    btw if you are police siren, my last lick is ‘puppy power.’

    this is I think the secret to Chico. We’re getting there.

  11. #35

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    Sorry Reg, what example are you talking about?

  12. #36

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    Hey Christian... Tempestade, the 1st Vid

  13. #37

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    Isn't that lick just standard II V lick... harmonically... B-7 the 3rd or "D" to D9sus D7 or "A" to G# the sus resolve version of II V. (B-7 sus resolve... "E" to "D"). And you can move the lick up by tritone if you want to expand the lick

    So... E D / A G# / up 8va etc... there are some pretty standard licks that use same approach for implying 2 chord vamps.

    So B-11 B-7 ...E9sus E9 ... B E F#D / E A B G# / again up 8va

    I mean modern brazilian seems to like II V's, and uses the same Dorian/Mixo relationships with Dorian expansion to MM relationships for Vamps. (like to get funky)

  14. #38

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    Rp... I know more pop... but early Eliane with Steps Ahead was cool jazz and brazilian... well not that much brazilian, but 35+ years ago. Anyway the Brazilian Jazz fusion thing was great time to be giging.



  15. #39

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    Quote Originally Posted by Reg
    Isn't that lick just standard II V lick... harmonically... B-7 the 3rd or "D" to D9sus D7 or "A" to G# the sus resolve version of II V. (B-7 sus resolve... "E" to "D"). And you can move the lick up by tritone if you want to expand the lick

    So... E D / A G# / up 8va etc... there are some pretty standard licks that use same approach for implying 2 chord vamps.

    So B-11 B-7 ...E9sus E9 ... B E F#D / E A B G# / again up 8va

    I mean modern brazilian seems to like II V's, and uses the same Dorian/Mixo relationships with Dorian expansion to MM relationships for Vamps. (like to get funky)
    Pretty much, but I wanted to dig into stuff beyond the harmony which is fairly obvious for all the examples so far. I mean it’s all undergraduate jazz school shit harmonically, but Chico makes it sound good.

    he is a linguistic player too. He sounds like he’s copped a lot of bop. Those linguistic touches, little half steps, changes of direction, use of repeated motifs, rhythmic interest all add a lot to me.

    ill post the open triad licks I did in my vid when I get a chance. Straightforward from an analysis perspective but I haven’t heard too many others use that sound.

  16. #40

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    Cool thanks... the linguistics sound like standard beginning composition basics. Back in the late 70's, and for a few years.... after. The same thing was going on... bring on the latest pop figure and your off running. Don't get me wrong... I love Brazilian pop. I'll keep watching maybe post some BS

  17. #41

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    The head to Tempestade uses that Dm. He doesn't use it in the solo section.

    After the repeated Dsus D9, I hear it as Gm9 C13 Ebmaj7#11 E7#9 Aalt. I usually play xx3335 and then slide the note on the D string down a half step, twice. Or, at the 8th fret, xx8 10 10 10, drop the F to an E and then play xx88 10 10.

    I think Christian said a lot when he wrote "he makes it sound good". The analysis shows that his note choices can be understood from common perspectives. But, the overall sound transcends that. He isn't just running Amelmin. He's finding a way to bring the sound of that G# into the foreground in a way that both surprises and pleases the ear. I think, to do him justice, you have to simultaneously analyze the melody, harmony and rhythmic placement. And, I don't have any tools for verbal analysis of melody, although I assume they must exist.

    And, it is quite remarkable how fast he can play this style, with every note pristene. We haven't even mentioned his ability to play cleanly articulated notes at breakneck speed.

  18. #42

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    Quote Originally Posted by christianm77
    Pretty much, but I wanted to dig into stuff beyond the harmony which is fairly obvious for all the examples so far. I mean it’s all undergraduate jazz school shit harmonically, but Chico makes it sound good.

    he is a linguistic player too. He sounds like he’s copped a lot of bop. Those linguistic touches, little half steps, changes of direction, use of repeated motifs, rhythmic interest all add a lot to me.

    ill post the open triad licks I did in my vid when I get a chance. Straightforward from an analysis perspective but I haven’t heard too many others use that sound.
    Are we talking about things like he did in Triades?

    I was surprised to find that he plays that with a pick, even though it's easier finger style -- and he has a great right hand for both pick and fingers.

    One reason we may not hear open triads so much is that they aren't easy to play.

  19. #43

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    Quote Originally Posted by rpjazzguitar
    The head to Tempestade uses that Dm. He doesn't use it in the solo section.

    After the repeated Dsus D9, I hear it as Gm9 C13 Ebmaj7#11 E7#9 Aalt. I usually play xx3335 and then slide the note on the D string down a half step, twice. Or, at the 8th fret, xx8 10 10 10, drop the F to an E and then play xx88 10 10.

    I think Christian said a lot when he wrote "he makes it sound good". The analysis shows that his note choices can be understood from common perspectives. But, the overall sound transcends that. He isn't just running Amelmin. He's finding a way to bring the sound of that G# into the foreground in a way that both surprises and pleases the ear. I think, to do him justice, you have to simultaneously analyze the melody, harmony and rhythmic placement. And, I don't have any tools for verbal analysis of melody, although I assume they must exist.
    TBF that’s true of most jazz improvisers that we might deem worthy of transcription. I could do this with pretty much any prominent player and go as deep.

    I like Chico’s style though. It’s quite unpretentious and fiery. Strong rhythms. I like the no reverb thing as well, more of an acoustic tone.

    And, it is quite remarkable how fast he can play this style, with every note pristene. We haven't even mentioned his ability to play cleanly articulated notes at breakneck speed.
    Most guys in NYC can do this to be fair. Not that it isn’t impressive, because NYC = top of the tree, it’s just the bar of technique these days among jazz players in the way it want maybe 30 years ago. They all grew up on Vai.

    Kids even more so. Go hang out in Instagram and come back to me when your eyebrows have grown back haha

  20. #44

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    Quote Originally Posted by rpjazzguitar
    Are we talking about things like he did in Triades?

    I was surprised to find that he plays that with a pick, even though it's easier finger style -- and he has a great right hand for both pick and fingers.

    One reason we may not hear open triads so much is that they aren't easy to play.
    no, the lick was tempestade. Not too tough to play but very ear catching line.

    (secret of Triades is to do DDU. that’s how Chico seems to do it, and it is oddly easier than alternating. That’s the way Lage Lund does arps as well.)

  21. #45

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    Quote Originally Posted by christianm77
    Since you asked 'what would I do over this section of the tune' I thought I'd see what Chico thought.

    Apols for any errors. That smudge on the third best of bar 3 is meant to be F#. Last note is meant to be Bb lol.

    Attachment 70364

    Make of this what you will. I have some ideas.

    Right I need to go bed. Maybe tomorrow Sibelius will work!
    So anyway analysis of this bit.

    so RP posted the chords and said what would you play on these and I said something like bop if I was reading, but dim scales would be text book, although I’d be looking to put in some triads?

    well yeah. So we have a ‘puppy power’ style fanfare figure repeated twice. The first time it’s F7 on D7. Dim symmetry.

    then a descending chromatic that winds its way into Db half whole - heavily anticipated by about a beat.

    Notice that he uses chromatics to make it sound more interesting. Breaks up the stepwise movement with enclosures.

    He anticipates the next chord which is C alt. He uses the Ab major triad sound (actually 1-2-3-5) in this case which is a really good way of getting the altered scale sound without playing the scale. He then plays more fully on the scale breaking it up in an interesting way rhythmically and resolving chromatically to the F7sus chord.

    Useful line to study because I don’t use much half whole stuff. it’s all stock stuff tbh, well executed and conceived. Nothing you wouldn’t see in a Sax solo of the past 40 years or so.

  22. #46

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    Quote Originally Posted by christianm77
    TBF that’s true of most jazz improvisers that we might deem worthy of transcription. I could do this with pretty much any prominent player and go as deep.

    I like Chico’s style though. It’s quite unpretentious and fiery. Strong rhythms. I like the no reverb thing as well, more of an acoustic tone.



    Most guys in NYC can do this to be fair. Not that it isn’t impressive, because NYC = top of the tree, it’s just the bar of technique these days among jazz players in the way it want maybe 30 years ago. They all grew up on Vai.

    Kids even more so. Go hang out in Instagram and come back to me when your eyebrows have grown back haha
    I've been going to NYC twice a year and hearing guitar players. Names you know. Some top players glitch notes in every solo. Well, maybe it's more the older guys.

    An aside: I attended a session a couple of months ago with a name drummer. One of the players insisted on talking through the charts in advance every time, mostly reviewing the roadmaps, which weren't all that straightforward, although the charts were correct. Eventually, the drummer's patience was exceeded. He said, "Let's just play it and make it sound good". This discussion reminds of that incident. We try to dissect the lines, but there is a level of making the music "sound good" which is difficult to appreciate in writing.

    For example, making that G# stand out. Strikes me as a significant thing to be able to do, but finding a way to incorporate that idea into one's playing seems elusive.

  23. #47

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    I would say there’s been a steep advance in technical ability. So a few things have come together for this to happen, but electric guitar technique is I think more differentiated from old school acoustic archtop guitar technique, and amount of info in this area is improving all the time. I don’t think it’s down to talent at all. I don’t think the younger players are more talented than the older ones, they just have that stuff dialled in because they knew how to break it down.

    things like using slurs in one’s articulation makes a big difference, for instance. Chico does this - you can hear it when you slow him down. Also economy picking... lighter strings, softer pick attack etc etc for many players, that direction started by Jim Hall but continued by early Metheny, Abercrombie etc

    None of which is to say Chico’s chops aren’t ridiculous it’s just - so are those of Jonathan Kreisberg, Lage Lund, Gilad Heckselman, Mike Moreno, Nir Felder, Pasquale Grasso, Charles Altura, Dan Wilson etc etc. They all have brutal chops. And I see so many players coming up... so this is more of an expectation in pro players.

    TBH my chops are pretty decent in that I understand how it works well enough to teach it as well. Chops are - one of the quantifiable bits. You don’t have to be talented to do that, just taught by someone who understands the mechanics and patient enough to do what they say.

    I don’t really see the G# as that big of a deal. Go look at some Cannonball for instance. It’s a real boppy thing to do.

    im not saying it isn’t cool, I just see it as fairly typical jazz language.
    Last edited by christianm77; 03-31-2020 at 05:03 PM.

  24. #48

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    Just to be clear - I don’t want to come across like I feel that Chico isn’t awesome badass and inspiring, because he is. I’m just aware there are aspects of his playing which I understand in that I know how to develop and hone them given time and focus.

    That doesn’t mean I will in fact develop them, but I get how a lot of it is worked on, and that’s pretty exciting in its own way.

    Because I’ll never play like him or any of the others I’ve mentioned - but I can use his playing to develop mine, if that makes sense. I think that’s something players have always done.

  25. #49

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    Quote Originally Posted by christianm77
    So anyway analysis of this bit.

    so RP posted the chords and said what would you play on these and I said something like bop if I was reading, but dim scales would be text book, although I’d be looking to put in some triads?

    well yeah. So we have a ‘puppy power’ style fanfare figure repeated twice. The first time it’s F7 on D7. Dim symmetry.

    then a descending chromatic that winds its way into Db half whole - heavily anticipated by about a beat.

    Notice that he uses chromatics to make it sound more interesting. Breaks up the stepwise movement with enclosures.

    He anticipates the next chord which is C alt. He uses the Ab major triad sound (actually 1-2-3-5) in this case which is a really good way of getting the altered scale sound without playing the scale. He then plays more fully on the scale breaking it up in an interesting way rhythmically and resolving chromatically to the F7sus chord.

    Useful line to study because I don’t use much half whole stuff. it’s all stock stuff tbh, well executed and conceived. Nothing you wouldn’t see in a Sax solo of the past 40 years or so.
    I hear those pickup notes as F Bb D. The chart says Eb lydian there.

    I don't hear the F E in beat 3, bar 1 except maybe faintly? Maybe if my speaker was bigger than 3/4 of an inch?

    I didn't verify the notes over the C.

    So, my take on this, subject to further analysis is ...

    The pickup notes are a Bb triad, right out of Eb lydian.

    He then plays D7 with altered ninths. That's beat 1.

    Beat 2, thankfully, is a rest.

    Beat 3, starts on the same note as beat 1 and is entirely chromatic.

    Beat 4, gets more interesting. First note continues the chromatic. It happens to be a Db. Against D7, Mark Levine might gag. But, Chico seems to anticipate the Db7 by playing root, 6, b7 root.

    Beat 5, stays interesting. Structurally, it's another chromatic with a switcharoo on the Gb and G. It mirrors, albeit not quite perfectly, the structure of Beat 4. Enough variation that you recognize it, but with a rise where there had been a fall (the Bb in Beat 6 compared to the Bb in Beat 4).

    Perhaps the most interesting thing is where he starts the chromatic line in Beat 5. Why Bb? One guess -- the chord in the chart is Db13#11. That's Db F G B Eb Bb. I think, he's thinking tritone. That is, he starts on F for the D7 in beat 1, the #9. Then, he does the exact same thing -- starting on the #9 of beat 5 -- except he's thinking Galt.

    Beat 6. continues the Galt idea while remaining structurally similar to the previous bar.

    Beat 7 has the altered ninths of the Galt and then repeats C and Eb. As we discussed before, Chico's lines can be analyzed n-notes at a time. If you consider Beat 7 as a 4 note phrase, it's in Ab. If you consider it two notes at a time, you get the altered ninths of Galt followed by a beat-and-a-half anticipation of the Calt.

    Beats 7 and 8 are, in the chart, listed as Db7#11b9, although it's not clear how much he's thinking about that.

    Beats 9-12 look like a Calt lick with #9 b13 b9 and #11. The first three notes are an Ab triad, but then he plays an E. It sounds augmented to me, which is a sound I hear a lot in his improvisation.

    To sum up. Gross structural consistency in overall melodic shape between bars 1 and 2. Chord changes are anticipated. A very good ear for using extensions to create melody. And, so quick that the ear doesn't have time to reject it.

  26. #50

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    Quote Originally Posted by rpjazzguitar
    I hear those pickup notes as F Bb D. The chart says Eb lydian there.
    I think you might be right about the Bb, I wasn’t sure actually.

    it still does for both in fact. But the phrase is a pick up/anacrusis. You are a Brazilian music fan right? Things happen ahead of the beat. The new chord starts on the push, Gilberto sings half a bar ahead, etc. That type of thing.

    My guess Chico is DONE with Eb Lydian at that point. The anticipations on the other chords make that a reasonable assumption.

    I also get a strong impression from your comments you haven’t looked into much bop.

    I would recommend ‘Forward Motion’ for an alternative perspective. Actually changed my life. I remember reading that and transcribing Bud Powell at the same time and going ‘oh.’

    Music is not a set of vertical slices, but a narrative. Not that you give a shit about what I say lol.

    I don't hear the F E in beat 3, bar 1 except maybe faintly? Maybe if my speaker was bigger than 3/4 of an inch?

    I didn't verify the notes over the C.

    So, my take on this, subject to further analysis is ...

    The pickup notes are a Bb triad, right out of Eb lydian.

    He then plays D7 with altered ninths. That's beat 1.

    Beat 2, thankfully, is a rest.

    Beat 3, starts on the same note as beat 1 and is entirely chromatic.

    Beat 4, gets more interesting. First note continues the chromatic. It happens to be a Db. Against D7, Mark Levine might gag. But, Chico seems to anticipate the Db7 by playing root, 6, b7 root.

    Beat 5, stays interesting. Structurally, it's another chromatic with a switcharoo on the Gb and G. It mirrors, albeit not quite perfectly, the structure of Beat 4. Enough variation that you recognize it, but with a rise where there had been a fall (the Bb in Beat 6 compared to the Bb in Beat 4).

    Perhaps the most interesting thing is where he starts the chromatic line in Beat 5. Why Bb? One guess -- the chord in the chart is Db13#11. That's Db F G B Eb Bb. I think, he's thinking tritone. That is, he starts on F for the D7 in beat 1, the #9. Then, he does the exact same thing -- starting on the #9 of beat 5 -- except he's thinking Galt.
    Yes, I agree. Or, pretty much what I said haha. Good point on the motif.

    The start of the phrase is not always harmonically important. A phrase can start on any note - could be the maj 7 on a Dom or the 4 on a major, say- it’s how it moves that’s important.

    That said, I do agree that the Bb is kind of interesting. if you take this in combination with the previous four notes, it looks to me like Chico is sort of outlining a Go7 chord here (really just a triad)

    So I just kind of think Db half whole line, which is the obvious choice for that chord symbol (Db7b9#11 or whatever it was?) from CST. There’s more to it than that, but I reckon that’s what he was thinking.

    I think Chico is Very Levine-esque actually in his note choices. Anticipation and chromatic passing tones aren’t forbidden!

    Beat 6. continues the Galt idea while remaining structurally similar to the previous bar.

    Beat 7 has the altered ninths of the Galt and then repeats C and Eb. As we discussed before, Chico's lines can be analyzed n-notes at a time. If you consider Beat 7 as a 4 note phrase, it's in Ab. If you consider it two notes at a time, you get the altered ninths of Galt followed by a beat-and-a-half anticipation of the Calt.

    Beats 7 and 8 are, in the chart, listed as Db7#11b9, although it's not clear how much he's thinking about that.

    Beats 9-12 look like a Calt lick with #9 b13 b9 and #11. The first three notes are an Ab triad, but then he plays an E. It sounds augmented to me, which is a sound I hear a lot in his improvisation.
    Yes. He’s actually playing a descending Dbmin(maj)9 arp on it which is as obvious a thing to do on the melodic minor as you get... James Bond, right?

    Classic language...

    and it does have to be the Dbmel min and not C altered that is used as an arpeggio, right? Why’s that?

    To sum up. Gross structural consistency in overall melodic shape between bars 1 and 2. Chord changes are anticipated. A very good ear for using extensions to create melody. And, so quick that the ear doesn't have time to reject it.
    Again most post bop improvisers use these techniques a lot. It’s the toolkit you need for that music. It’s kind of bop rhythmic and melodic techniques applied to CST harmony.
    Last edited by christianm77; 04-01-2020 at 07:12 AM.