The Jazz Guitar Chord Dictionary
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  1. #101

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    Ragman,
    You can't play a simple C major scale fast.
    ...and you talk about some beginner's stuff...sorry.
    Jazz music requires skill and constant practice, not boring the listeners...!

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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    I think this could all be interpreted as Melodic Minor Mode chords.


  4. #103

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    Quote Originally Posted by GuyBoden
    I think this could all be interpreted as Melodic Minor Mode chords.

    Yea.. great vid... everyone looks great 30 tears ago,even M. Brecker . The days of real Jazz festivals...

    yea it sounded like typical use of MM and Dorian, sub Vs, bVII's back them... thanks for posting. It's not really what material one uses... is how they use it.

  5. #104

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    30 tears ago
    I know it's a typo, Reg, but oh so true :-)

  6. #105

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    Warren Nunes taught that Type I chords were interchangeable. Cmaj7 Em7 Gmaj7 Am7. I guess he didn't notice the F# in Gmaj7 <g>.

    In playing All of Me, there are lots of options. Cmaj7 vs C6 vs Warren's alternatives? The sounds should be so familiar that you pick the one you want by ear.

    I understand the point about Cmaj7 being more dissonant than C6. I too can hear the B rubbing a bit. Bug or feature? I like the way it sounds. Pare it down. Play (high to low) C E B vs C E A. To my ear C E B sounds better - more interesting. C E A is too vanilla.

    And there are plenty of other options. My choice nowadays would probably be a moving chordal line, creating melody on the E string with the soprano voice of the chord. Maybe moving stacks of 4ths, maybe maj7 voicings, maybe some back and forth with G7 or a dim7. A common big band era pattern was Cmaj7 Dm7 Ebo Cma7 (soprano: G A A B).

    For me the way to handle this is to try different things and learn the sounds. A theory which suggests that I should play C6 and not Cmaj7 (if that's what it suggests -- tbh I'm not clear on that aspect of this discussion) would conflict with my ear.

    As I have pointed out, the thing I hate about theory is that it is sometimes very helpful. Perhaps not this case.

  7. #106

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    Quote Originally Posted by rpjazzguitar
    Warren Nunes taught that Type I chords were interchangeable. Cmaj7 Em7 Gmaj7 Am7. I guess he didn't notice the F# in Gmaj7 <g>.
    Apologies if this has already been mentioned; I just saw this in the recent activity feed and haven't read the entire thread.

    You could look at the F# in Cma7 as being Cma7#11, aka the IV chord in Gma. I've heard* that George Russell's lydian chromatic approach posits that maj7 from lydian mode (i.e. the IV chord) is less dissonant than the maj7 from ionian mode (i.e. the I chord) because the #11 is a chord tone instead of the P4/sus4 "avoid note" that Ionian (I chord) provides.

    In the other chords of the family, the F# extends Ema7 to Ema9. And it is the natural 6th in Ami.

    HTH

    SJ

    *I haven't actually read the Russell book yet so I hope I'm not misquoting. Russell's LCCoTO is a bit expensive to buy ($130 now, down from $250 just a few years back). The last time I checked, it was not available at any library I can access.

  8. #107

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    We now usually just label as Modal Interchange. or expanded Borrowing.

  9. #108

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    I've read the Russell book and you really don't want to let it mess with your head, trust me.

  10. #109

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    Quote Originally Posted by ragman1
    I've read the Russell book and you really don't want to let it mess with your head, trust me.

  11. #110

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    Barry Galbraith's "Daily Exerecises in the Melodic minor and harmonic minor modes" book is a great example of how important these scales are in improvisation.I bought this book over 40 years ago.