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Originally Posted by christianm77
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03-22-2021 06:02 AM
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Originally Posted by ragman1
Originally Posted by grahambop
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Originally Posted by TOMMO
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Definitely--that's the beauty of a virtual jam...if you think of a good idea after the tune is "over," you can still have a crack at it!
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Originally Posted by ragman1
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Originally Posted by wzpgsr
Don't worry, i know exactly how challenging the tune is, believe me. There's not only the chords themselves but there's what to play over them. It's very difficult indeed, even for practised players.
I did do a post some time earlier, breaking it all down, but there was no response or reply at all. So I removed it and no one said anything, so so much for that! Would you like me to do it again?
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Originally Posted by wzpgsr
John
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Originally Posted by John A.
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In the last week, I've been working on a chord melody of Dolphin Dance as I worked on memorizing the changes.
The tune used to strike me as kind of rambling. I couldn't really detect the structure.
With enough repetition, it has started to make sense. The melodic contour of the opening bars -- repeated in different keys and reharmonized in different ways. Then the section that begins with Gmaj7 Abm7. Later, the section with the Am7 Bm7 C#m7. Then the Bm7/E Am7/E (or whatever you choose to play). The last few bars are the original melodic contour (not exactly the same thing, but a detectable shape) reharmonized in a way that is hard to identify, which just might mean you can play whatever you want.
To play on them, I've kept the melody in mind and stuck to chord tones. If I want to go further with it, which I probably don't, I'd have to figure out which additional notes work over each chord and write out ideas.
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What one plays over these chords - whichever version you use - is no different to any other tune. The same rules apply. The notes have to fit, whether it's done with triads, pents, scales, arpeggios, or anything else. If they don't fit, it's musical nonsense whether it's this tune or Happy Birthday To You.
But these ones here, like the slash chords, are a bit more awkward, of course. But it's only a question of knowing how to make them sound. It's not rocket science.
Chord melody, which may involve special voicings chosen by oneself, is a different matter, though.
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Originally Posted by ragman1
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Ron Affif has a solo version. I think he transposed it and maybe used an alternate tuning, but it's an impressive performance. It's on his "Solotude" album.
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Originally Posted by rpjazzguitar
Yes! This is one that once you get the form down, it's like a blindfold is taken off or something.
I think I listened to this tune for years before I realized the first 4 bars were never repeated in the solos...
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Originally Posted by lawson-stone
Of course, that's the other option. Just change all the chords!
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Originally Posted by mr. beaumont
OTOH, I haven't yet gotten to the point where I can start the tune in a random key and play it all the way thru without difficulty. The changes aren't commonplace enough that my fingers automatically go to the next chord.
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Plot twist (sort of). I spent a little time with this tune mapping it out as a chord melody arrangement, trying to make sense of it, and it works. It's a beautiful composition, indeed. All I need now is 5-10 free hours to get it "right" and internalize it, so that should be sometime before Christmas.
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Originally Posted by Peter C
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Originally Posted by rpjazzguitar
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Originally Posted by mr. beaumont
I was thinking about it from the point of view of my own ear training, much of which is focused on trying to teach my fingers to find the next chord without any interference from the likes of me.
I don't need to know what 7th chord I'm playing for my fingers to find the IV chord in a blues. Or, any chord of All of Me. My fingers know that tune in 12 keys.
Dolphin Dance? Stupid fingers. Needs a lot more reps.
Hijack: Temporary topic is asshole moves in jams. Here's my number 1.
A prominent pianist walks into a jam as somebody (me) is handing out books and yells "no books, no books!". Intimidates everybody into putting the books away. He then proceeds to call every tune, including tunes that very few people know. The bassist is a high level pro and he whispers the changes to that guy. The harmonies are not super difficult, but the roadmaps vary a lot - no AABA tunes in the lot. It was a learning experience for the participants, but it was supposed to be an ordinary jam.
My takeaway -- the guy who says no books can't be the guy calling all the tunes.
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Last four chords.
x6666x
x66787
3x6553- it's playable but uncomfortable. 3x6533 also works.
3x3443
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Originally Posted by rpjazzguitar
Funny you should post that, I was sitting around messing with DD yesterday since this thread kept going, and those were exactly my "settled on" voicing for the last 4 (sans G bass note)
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I guess I'm the AH.... but I'm also the guy who's had to play DD in a few Keys, at gigs. Maybe some are just lucky to not have had to perform with vocalist... ( a couple were actually good.)
Look... when you play a tune you don't know.... it always works better when to start with an analysis, a road map with directions, the analysis is the directions.
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Originally Posted by Reg
I've never heard one call Dolphin Dance (I'm thinking that does make me lucky)
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Originally Posted by Reg
John
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yea... I've hosted and ran many Jam sessions.... generally the jokes are about the guitar players.
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