The Jazz Guitar Chord Dictionary
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  1. #76

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    Quote Originally Posted by grahambop
    Here's mine. I got fed up trying to play with that Aebersold track (as others have said, it's too noisy and gets too fast). So I did something with BIAB instead (tempo = 210).

    Great classic jazz tone and vocabulary. Interesting melodic and harmonic ideas. Also, very clean way of playing. Every note rings out clearly. That's harder to do than it seems.

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  3. #77

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    Quote Originally Posted by rpjazzguitar
    I don't know how valuable these post hoc explanations are. Nonetheless:

    This is a turnaround. If you're thinking G7b13 (or, better yet, G7b9b13), then the subdominant leading to it might be Dm7b5. D F Ab C.

    That's that three notes associated with G7b9b13. And, it has a C, which is the note I didn't think works.

    If you just think about Abmaj7, Ab C Eb G. Same thing, three notes from G7b9b13 and that C again.
    Sorry, rp, I don't analyse like you do, I just play it. If it's good, it's good.

    I just did this. No pre-thinking, no manipulation, it just happens. Nice and s-l-o-w-l-y so there's no ambiguity!



    But I have to be honest, I didn't always play just G7 on previous versions. Sometimes it was a Cm, sometimes an Fm, sometimes a G7, but they all work for me. I don't actually like that AbM7, I don't really know what it's doing in there.

  4. #78

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    Quote Originally Posted by ragman1
    Sorry, rp, I don't analyse like you do, I just play it. If it's good, it's good.

    I just did this. No pre-thinking, no manipulation, it just happens. Nice and s-l-o-w-l-y so there's no ambiguity!



    But I have to be honest, I didn't always play just G7 on previous versions. Sometimes it was a Cm, sometimes an Fm, sometimes a G7, but they all work for me. I don't actually like that AbM7, I don't really know what it's doing in there.
    I don't analyze before or during play if I can hear the harmony clearly in my mind. I just try to play a melody if I can. I didn't analyze this one until afterward. I did recall that the C note at that spot sounded like a clam and I had to avoid it.

    I am somewhat interested in analysis afterward. It's sometimes helpful.

  5. #79

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    That Abmaj7 chord kept catching me out at first. I needed something really simple to hang it on. Eventually I started using a C minor run/triad etc. which works there. Can be run into a G7alt phrase very easily, I was definitely doing that.

  6. #80

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    Quote Originally Posted by rpjazzguitar
    Great classic jazz tone and vocabulary. Interesting melodic and harmonic ideas. Also, very clean way of playing. Every note rings out clearly. That's harder to do than it seems.
    Thanks. Actually while making these videos I have a bit of trouble hearing what I’m playing, I’ve got all the sound being monitored via the Focusrite through my computer speakers, but the guitar does not sound clear enough through those speakers. (This doesn’t affect the recording which is direct, just the monitoring sound). So I don’t always feel I’m picking as cleanly as I would like. If I use my amp direct out, I have to turn the amp speaker off, as it requires the amp to be at a deafening level before I get a loud enough line signal to record with. (Could do with a separate volume control on the amp line out!). So I can’t use the amp.

    Anyway I have just ordered a Lehle signal splitter, so in future I will be able to send one signal to the amp and the other to my recording interface. Should be a lot better!

  7. #81

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    Quote Originally Posted by ragman1
    Did you listen to the SJ vid? They ignore it. They either play a simple line or blues. Nae bother, as they say up here.

    (I want to know why rp thinks the C note is a clam)
    no I haven’t listened to any other versions. I know the Wes version, been listening to it for about 100 years!

    I think he plays some lines that reflect the Ab, from memory.

  8. #82

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    Quote Originally Posted by Triple_Jazz
    Absolutely wonderful! Fantastic touch and feel. How much of your ideas come from transcribed language as opposed to derived language? Meaning, to get to this stage of jazz vocabulary was it necessary to transcribe solo after solo and make your own phrases from those ideas or did you derive your lines from what you hear in your head?
    Thanks! well I did originally transcribe about a dozen solos many years ago, I think that trained my ears enough to be able to pick up ideas just by listening. So I guess a lot of it comes from stuff I’ve heard, but then it sort of gets changed in my brain or something! Complicated subject really.

    Nowadays I can hear ideas in my head for most tunes. The problem is I can’t always play them in real time.What my fingers want to do is not always as good! Especially when the video camera is running...

  9. #83

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    I’ll take your word for it, I’m not that interested what they do, to be honest. I like to reflect that Ab chord, so I don’t want to ignore it.

  10. #84

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    Quote Originally Posted by grahambop
    That Abmaj7 chord kept catching me out at first. I needed something really simple to hang it on. Eventually I started using a C minor run/triad etc. which works there. Can be run into a G7alt phrase very easily, I was definitely doing that.
    Just noticed that the melody at that point is essentially a C minor arpeggio, I did not think of looking at that before. Kind of explains why I thought Cm lines work!

  11. #85

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    Quote Originally Posted by ragman1
    Good god, man, it's only 2 mins long! It's just small clips, not the album. I don't think you'll be psychologically influenced!!
    Ragman, I have to say this, don’t you think it’s kind of rude addressing me like this? Learn to use some manners and respect in our interactions please, otherwise you will be going on my ignore list.

  12. #86

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    Quote Originally Posted by grahambop
    I’ll take your word for it, I’m not that interested what they do, to be honest. I like to reflect that Ab chord, so I don’t want to ignore it.
    the very first thing jimmy heath does in his solo in bar 9 is hitting a big fat Ab. and the whole album is a gem. in fact all the sam jones cello/bass solo albums are amazing. wes was a big fan of those records too and sam sack is written from a solo excerpt on one of the tunes. you'll love these albums, i'm sure. they are the bestest.



    sry for the derail.

  13. #87

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    Graham, really enjoyed your take. You have the ability to build something that has a real arc to it...makes listening to your playing always enjoyable.

    Re: the Ab...I mean, it's a C blues anyway...and C blues lines are not a stretch on the Ab chord.

    There's some slightly different things going on with the maj7 being present, but the Ab to G7#5 (or the Dbmaj as a tritone sub) isn't that different from the turnaround that's so common on a MINOR blues...

    Not sure if that's significant or not, but that's what my brain said to me to squash any thoughts of me thinking it was "weird."

  14. #88

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    Quote Originally Posted by mr. beaumont
    Graham, really enjoyed your take. You have the ability to build something that has a real arc to it...makes listening to your playing always enjoyable.

    Re: the Ab...I mean, it's a C blues anyway...and C blues lines are not a stretch on the Ab chord.

    There's some slightly different things going on with the maj7 being present, but the Ab to G7#5 (or the Dbmaj as a tritone sub) isn't that different from the turnaround that's so common on a MINOR blues...

    Not sure if that's significant or not, but that's what my brain said to me to squash any thoughts of me thinking it was "weird."
    I just listened to Wes/Wynton, Cannonball/Zawinul (studio version on the Nancy Wilson/Cannonball album; the original recording for which the tune was written), Cannonball/Zawinul (live). Couldn't find the Sam Jones version Ragman references, but I think that's probably later than the Cannonball/Wilson record FWIW. AbMaj7 everywhere. I didn't listen to every chorus of every version and didn't stop and transcribe, but I don't hear anyone comping an Ab7, though there are places where I can't quite tell in either bass or piano. Maybe you guys' ears are better than mine, and hear Ab7 where I'm missing it. ¯\_(?)_/¯ The Wes/Wynton version has the most going on in terms of tritone subs and backcycling and maybe there are some Ab7s in there.

    In terms of what to outline in a solo, either flavor of 7 is OK depending on where you're coming from and going to. In my own version over the Aebersold track, I was playing mainly chromatically around that change and maybe passed through both G and Gb (I'd have transcribe carefully myself to be sure), but I think I was mainly hanging out around C7 and/or Cmin (C7#9) on that chord change. I treat the whole thing as C blues and didn't give it a lot of thought one way or the other (except to watch out for clashing with Cmaj7 on the bar 11). ¯\_(?)_/¯ I hear stuff, I play stuff.

    John

  15. #89

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    John -

    Sam Jones original. As you can hear, the chord sounds aren't terribly 'dominant' or bluesy. I think there's a lot of 6 (13) in there. The solos aren't particularly bluesy either. And they're certainly playing a M7 for bar 9.


  16. #90

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    Quote Originally Posted by grahambop
    Anyway I have just ordered a Lehle signal splitter, so in future I will be able to send one signal to the amp and the other to my recording interface. Should be a lot better!
    The LAST thing we need on this forum is for you to sound better

    Already love your sound and what you play

    That Lehle sounds interesting. I don't love the idea of a virtual amp, I'd rather capture my own amp and the room itself. Not because I think my amp has a great sound, just because that's how I play when I place out. Always working on dialing in the sweet spot.

    Does the Lehle require any special hardware or software, or is it plug and play? I would love to send my amp sound into the computer and have it mix with the live sound of the room. It'd be easier to balance my sound.

    Honestly, the easiest work around for me would be to record with MY bassist friend so the balance would be all live. Ron, you ain't the only lucky one (though I dig his style) I think he is more comfortable playing at this stage of the pandemic. You'd all be in for a treat, he is quite the bassist.

  17. #91

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    Quote Originally Posted by ragman1
    John -

    Sam Jones original. As you can hear, the chord sounds aren't terribly 'dominant' or bluesy. I think there's a lot of 6 (13) in there. The solos aren't particularly bluesy either. And they're certainly playing a M7 for bar 9.

    I get "video unavailable" on my screen" and can't play/open the link.

    John

  18. #92

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    Quote Originally Posted by ragman1
    No, it wasn't rude and I'm amazed you thought it was. It was just blokey or matey, whichever you like. I was just surprised you dismissed it all so readily. My experience of you for a long, long time now has been that you're extremely steady, sensible, highly accurate in your analyses, and very helpful. You know you've given me lots of good tips, links, and all the rest of it.

    But you seem to have changed quite a lot. I won't enquire into that but I just trust you're okay. I mean it, I really do.
    Ok for the sake of the thread let’s drop this, I appreciate you meant well.

    Other than growing older, fed up with lockdowns, and the weather (same as everyone else!) and therefore a bit grumpier these days, there is nothing wrong with me as far as I know! In fact I’m much healthier since I retired a couple of years ago (lots of long walks in the countryside). And enjoying the guitar more.

  19. #93

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    I really want to hear this "not bluesy" Sam Jones version, can't find it anywhere! What's the album called?

    The important takeaway of course is that the A sections ARE a blues, so they have three harmonic areas....All the stuff we're talking about is just the V, So you can play anything over it to pull back to I.

  20. #94

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    Quote Originally Posted by mr. beaumont
    I really want to hear this "not bluesy" Sam Jones version, can't find it anywhere! What's the album called?
    it is called "down home". not sure about the "not bluesy" part.

    maybe this works:


  21. #95

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    Quote Originally Posted by ragman1
    No, it wasn't rude and I'm amazed you thought it was. It was just blokey or matey, whichever you like. I was just surprised you dismissed it all so readily. My experience of you for a long, long time now has been that you're extremely steady, sensible, highly accurate in your analyses, and very helpful. You know you've given me lots of good tips, links, and all the rest of it.

    But you seem to have changed quite a lot. I won't enquire into that but I just trust you're okay. I mean it, I really do.
    For what it's worth, I thought your reply to him was rude as well. I don't sense any change in Graham. He's one of my favorite contributors and players on this board. I think we'd all do well to do listen closely to the players who can actually improvise interestingly at tempos approaching the recordings than railing at them.

    I'm reminded of what Wyatt Earp said to Ike Clanton: "... Ike, you talk too much for a fighting man."

  22. #96

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    Quote Originally Posted by djg
    it is called "down home". not sure about the "not bluesy" part.

    maybe this works:

    That did work. And that's some GOOD STUFF!

    I do find it quite bluesy, really. It's a jazz blues, they're playing changes, but it's definitely bluesy.

    Of note--now I'm here with crappy laptop speakers, but I swear I hear the Ab clearly on all the "A's" of the sax solo....but NOT on the first two A's of the trumpet solo. But it's back on the final A. Interesting.

  23. #97

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    Quote Originally Posted by Triple_Jazz
    Here’s my submission. I’m running behind from the holiday. This was one I never played on guitar before, I played it on double bass with a jazz trio about eight years ago so I knew the form. It’s a tough one to stay up tempo in the pocket and create meaningful lines. I think wzpgsr said it best, “throwing a lot of random melodic stuff at the wall”.

    BTW
    Great submissions and conversation so far on this thread!

    OH YEAH. I love it that you just went after it. I felt a real drive and excitement in your solo, like you were taking risks, one of which was the tempo. I'm happy to confess and come out as somebody who loves fast tempos and wishes I could play them! I admire players who can get their ideas out there at quick tempos. I like to feel the heat.

    Lots of that here!

  24. #98

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    Quote Originally Posted by PickingMyEars
    The LAST thing we need on this forum is for you to sound better

    Already love your sound and what you play

    That Lehle sounds interesting. I don't love the idea of a virtual amp, I'd rather capture my own amp and the room itself. Not because I think my amp has a great sound, just because that's how I play when I place out. Always working on dialing in the sweet spot.

    Does the Lehle require any special hardware or software, or is it plug and play? I would love to send my amp sound into the computer and have it mix with the live sound of the room. It'd be easier to balance my sound.
    haha thanks! Always glad to spread fear and loathing!

    Yeah I’ve been looking to improve my recording setup for a while now.

    I could mic my amp (DV mark little jazz) but the result doesn’t sound that great to me. I like a lot of clarity on the guitar, otherwise it gets a bit lost by the time youtube gets its hands on it (I guess they compress it a lot), and then it maybe gets played back through a phone speaker or something. Mic’ing the amp doesn’t give me such clarity. Also my ‘music room’ is pretty small, having a mic stand as well as camera tripod etc etc just gets a bit cluttered. Going direct is just so much easier. I recently got a tube preamp for the direct signal, it sounds pretty good through that. (although to be honest, my Gibson 175 seems to produce a pretty useable sound just plugged straight into the interface).

    But the downside of ‘direct’ is how to monitor the guitar (I hate using headphones). So I have this nice amp just sitting there, and I could use the amp sound purely for monitoring my guitar, if only I could split the signal first.

    The Lehle is a passive splitter (no power needed) but designed for guitar signals. So very simple, 1 input and 2 outputs. Contains some kind of transformer to isolate the 2nd output from noise, hum etc. so that’s the best output to record from. It’s a bit pricier than some, but said to be good quality (German engineering!). Anyway it’s coming tomorrow, so we shall see.

    One benefit of the lockdowns is I haven’t spent much money for ages, so I can afford a few ‘toys’ at the moment!

  25. #99

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    Triple jazz, missed your initial post! Love it. Tons of energy, great lines, and the octave chorus was SMOKING.

  26. #100

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    Quote Originally Posted by grahambop
    Here's mine. I got fed up trying to play with that Aebersold track (as others have said, it's too noisy and gets too fast). So I did something with BIAB instead (tempo = 210).

    Now that's a great take. I love the endless, fluent stream of ideas. Love the unleashing of the bop idiom on this. I almost overdosed on all the ideas you were firing out there, and it sounded natural and unforced. The tone was great. I thought in the very first notes of your solo I heard maybe a hat-tip to Wes? I wish I could play over blues changes like that. The blues licks were rare, but perfectly placed.

    I also appreciate and admire up-tempo playing. I struggle to be able to play faster than 180 or so and enjoy hearing people who can naturally communicate great musical ideas at faster tempos. I will have to listen to you clip a lot more to see what I can absorb.