The Jazz Guitar Chord Dictionary
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  1. #26

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    100 Must Know Jazz Standards Consensus List - YouTube

    Here is a Youtube playlist I put together. It's the top 100 Must Know Jazz Standards, based on committee votes from Houston's HSPVA (High School for the Performing and Visual Arts). I didn't pick any of these tunes, and I didn't post or own any of the videos, I only put together the playlist.. I do however own alot of the albums, and so should you.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Abmaj7 |Eb-7 Ab7 |Dbmaj7 |Db-7 Gb7 |
    Ab maj scale Db maj scale Db dorian

    Abmaj7 F-7 |Bb-7 Eb7 |C-7 F7 |Bb-7 Eb7 |
    Ab maj scale C dorian Ab maj scale

    Abmaj7 |Eb-7 Ab7 |Dbmaj7 |Db-7 Gb7 |
    repeat of bars 1-4

    Abmaj7 F-7 |Bb-7 Eb7 |Ab6 | |
    Ab maj scale

    Eb-7 |Ab7b9 |Dbmaj7 | |
    Db maj scale Ab HW Db maj scale

    D-7 |G7 Bb7 |Cm7b5 F7b9 |Bb-7 Eb7 |
    C maj scale BbMixb13 CLocNat2 FHW Ab maj scale

    Abmaj7 |Eb-7 Ab7 |Dbmaj7 |Db-7 Gb7 |
    repeat of bars 1-4

    Abmaj7 F-7 |Bb-7 Eb7 |Ab6 |Bb-7 Eb7 |
    mostly repeat of bars 13-16 --All Ab maj scale

    _________________________________________________
    Bars 17-20
    OK, after some research, we see we need Ab HW for the Ab7b9.
    but what is the best before and after that?
    I guess Dbmaj scale makes the most sense, although we lose two
    chord tones of Eb-7 going into the Ab HW and we lack one chord of
    Dbmaj7 coming out of the HW. Close as we can get??_____________________________________________ ____
    Bars 22-23
    Working backwards
    Need F HW for F7b9 >> F Gb Ab A B C D Eb
    Does this work for Cm7b5?
    No! What do do??
    Hmmm.
    OK, let's go from the other side.
    The G7 looks like we should just treat it with C maj scale
    as we come out of the D-7. II-V. OK.
    And the B7 is rather stark change, so probably OK to jump to
    something new.
    So can we find something for the Bb7 and the Cm7b5?
    Let me look at my MM modes.
    Yes, it seems we can use the 5th and 6th modes of MM over these two chords.
    So I would use Eb MM over these two chords.
    Double check: Eb F Gb Ab Bb C D are the notes. Yes both chords are in there.
    Put the fancy names of the modes in the chart. Hehe.

    __________________________________________________ __

    General Comments and Questions:

    1) All I did was identify the key of the tune, isolate the II-V(-I)'s, use HW for
    the b9 chords, and then get lucky finding a bit of MM for a couple of chords.

    2) I didn't include the two intro bars in my bar counting. Was I supposed to?

    3) At no point did I think about "tonal centers." Should I have done so?

    4) I used the pdf from the beginning of the thread and so this is in a different key.
    Figured that would be better if anybody else wants to comment. But if you want I can do
    the other key.

    5) I wouldn't say this is the first time I have ever done this, but for all intents and purposes, this is the first time I have ever done this. How to do this is more than anything else what I don't know how to do/want to know how to do.

    6) OK, now I am going to see how it sounds.

    Thanks.


    UPDATE: Damned formatting. It looked good before. Argh. I'll see what I can do.
    UPDATE II: Removed all the tabs, but still looks like gunk. Argh again.
    Last edited by jster; 03-29-2012 at 06:48 AM.

  4. #28

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    Hey jster,

    Looks good and going to hear how it sounds, that's an important step. Right on.

    As an option, where you have the HW scales you can also play altered scales. Where you have Db dorian, you can also play DbMM.

    Cheers

  5. #29

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    Quote Originally Posted by fep
    Hey jster,

    Looks good and going to hear how it sounds, that's an important step. Right on.

    As an option, where you have the HW scales you can also play altered scales. Where you have Db dorian, you can also play DbMM.

    Cheers
    Thanks fep for your time. I really appreciate it.

    1) I thought about the altered scale, but what about the natural 5th? Don't I need it? (Assuming I am playing with a band.)

    2) How can I use DbMM for Db dorian? Don't I need the b7?

    3) More generally, if we take consider the -7 chords, what about all the other modes? There are five other modes of the major scale and of the MM scale that "fit" them, plus modes of HM. How do we decide to reject most of them? What is the algorithm? Of course we want to play what sounds good. But just sticking with the theory,...what is the theory at this precise point?

    4) The most interesting bars, 17-24, pass relatively quickly, but I am treating them as an exercise, looping them, and trying to really explore what is going on there. What happens is that modes are opening some doors, but there are also some avoid notes that I am noticing, and when I avoid them, I feel like I am almost being led to some cliches. Perhaps I am just being led back to the arpeggios? I dunno. I'll have to get back to you about that.

    5) Yeah, I didn't respond to some of the things you said earlier. I am really trying to explore all the harmonic approaches available for the tune, because that is my weakest point. I am much more interested right now in what is possible than what sounds good or best. But I completely agree with your claims about the priority of rhythm and feel.
    Last edited by jster; 03-30-2012 at 04:56 AM.

  6. #30

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    Quote Originally Posted by Soco
    Nice job!
    Thanks Soco

  7. #31

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    I know it's about over... but I played Misty at gig earlier tonight... Was in Eb, which I think is standard... anyway here's a quick playing analysis in key of thread, Ab. I down loaded Howie's chart and just played through... It's very rough... but maybe I'll try and play through with backing track tomorrow...
    If anyone would like more details of how I pull from Melodic Minor for blue notes... as opposed to harmonic minor and pentatonic blue notes... I'll posts some samples... check video out and ask about anything and I'll break it down... remember it's not a showcase example... just reading through for analysis info...

    Reg

  8. #32

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    Hey Reg! Welcome back! Nice analysis, very practical chord melody approach with a nice bluesey sound. BTW, many of the backing tracks I post are in the key my wife (vocalist for Starlight) sings them in.

    wiz
    Last edited by wizard3739; 04-01-2012 at 11:47 AM.

  9. #33

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    Hey Howie... thanks, was just reading through... and I kind of figured that might be reason for Ab... It was fun, lays different than Eb. I have a couple gigs today... but I'll try and make one more video with different approach ??? and actually play... maybe a latin version with time games...
    Reg

  10. #34

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    Here's a different take of Misty... A med Mambo. I didn't notate anything out... so it's very lose... but that is one of the characteristics of playing in a jazz style... it's usually very live. I only took one chorus soloing... I would obviously get more into the tune if I kept soloing... but backing tracks are not that much fun.
    Again it's very lose... but could be cool version of Tune if notated out, at least the head... Anyway check it out and if anything sound interesting... I'll try and break down what I did.
    Thanks Reg

  11. #35

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    Quote Originally Posted by jster
    Thanks fep for your time. I really appreciate it.

    1) I thought about the altered scale, but what about the natural 5th? Don't I need it? (Assuming I am playing with a band.)

    2) How can I use DbMM for Db dorian? Don't I need the b7?

    3) More generally, if we take consider the -7 chords, what about all the other modes? There are five other modes of the major scale and of the MM scale that "fit" them, plus modes of HM. How do we decide to reject most of them? What is the algorithm? Of course we want to play what sounds good. But just sticking with the theory,...what is the theory at this precise point?
    Hi Jster,

    Are you still checking in on this thread? Sorry for the late reply, I got distracted on other things.

    1) The altered scale does have a #5 and an b5, but it still works well over a plain dominant chord (or in the case you sited over a dominant 7 b9). Those tones will create tension, but that will make the resolution to the I chord that much prettier. Jazz often has tension and release. The b5 and #5 may not be tones you want to stay on for more than just a moment (or maybe you do). Let your ear decide.

    Why does the altered scale work over an unaltered dominant 7 chord? It works because it has become a part of the standard jazz vocabulary. We are use to hearing it and we like it.

    2) The same goes for the MM scale over the IVm7 chord. And, the blues scale for the same reasons, will work in many places in this tune. It's all part of the already established jazz vocabulary. And again, we are all use to hearing it and we like it.

    Here is a the video I already posted. I'm not an advanced player, but I still think it's good enough to illustrate what we are talking about.These are examples of where the scales I'm playing don't necessarily exactly, theoretically fit the underlying chords.

    2:09 to 2:22 is just bluesy stuff over the whole turnaround section.

    At 2:36 I played Ab melodic minor over the Abm7 the IVm7 chord (I'm playing the tune in Eb)

    At 3:01 I'm playing off the Ab minor blues scale over that same IVm7 chord.

    In either case, when I'm playing, I'm not really thinking of the theory or the scale names. These are just the kind of things I've done before and have become part of my vocabulary.



    I'll try to come back and address your other questions later. Let me know though that you are still checking in.

  12. #36

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    Thanks fep. I watched your video over and over. Hehe. So I guess I understand everything you said. But I have a couple of questions.

    Questions for fep:

    1) Is the MM over the IVm7 in part acceptable because we are expecting a maj7 chord there anyway?

    2) When you play the bluesy stuff over the turn around are you just sticking with Ab minor blues? (I'm just asking this question for completeness sake. Don't worry, I won't trouble you too much with questions about the blues scale.)

    Questions for everyone.

    3) One thing that I am trying to figure out is what the point of using a scale for one measure or a half a measure is. I can understand using an arpeggio. And I guess I can understand whipping out the HW for some kind of run up or down. But when it comes to just plowing through (Misty isn't the best example), I don't quite get what I am trying to do with the scale. Take the HW that pops in at the end of bar 23 for two beats for the 7b9 chord. What on earth am I trying to for two beats with that scale? When I have four beats for the 7b9 chord at bar 18, I have polished some little lick, but that is of course contrived. So even for four beats, I am not so sure. I will work on it more and maybe I can make the HW sound cool anytime?!?? If I had to play a gig, I would go for arpeggios 100%, but I am trying to make the scales sound as good as possible. Anybody have any thoughts on arps vs. scales on bars like those? It would seem that one would want to lean on the chord tones. So what is the point of the other notes in the HW scale for these couple of bars? And it is kinda weird because it is a symmetric scale and so it seems to sound a bit alien pretty quickly.

    4) I like to play this a lot faster. Autumn leaves on the other hand, I like a lot slower. I listened to the famous vocal versions of that song last year and found them so beautiful. But the way jazzers like Jarrett bounce through it, I am sorry, but it sounds like a bad jazz cliche--assuming you actually like the (original) song--like something you would hear at the mall coming from the organs. At least the head. Ugh. Like so many versions of Wave. Ugh. Everybody seems to do it. Why don't folks pour out their soul for Autumn Leaves? They do it for Misty. But Misty seems to sound fine either way.

    OK, now I have to pour over Reg's stuff.
    Last edited by jster; 04-04-2012 at 05:32 PM.

  13. #37

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    Quote Originally Posted by jster
    Thanks fep. I watched your video over and over. Hehe. So I guess I understand everything you said. But I have a couple of questions.

    Questions for fep:

    1) Is the MM over the IVm7 in part acceptable because we are expecting a maj7 chord there anyway?
    I tried to explain with a video:


  14. #38

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    Thanks fep, you are too kind. I watched it several times. I just got up and I will give you some feedback later.

  15. #39

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    Quote Originally Posted by jster
    Thanks fep, you are too kind. I watched it several times. I just got up and I will give you some feedback later.
    Quote Originally Posted by jster

    2) When you play the bluesy stuff over the turn around are you just sticking with Ab minor blues? (I'm just asking this question for completeness sake. Don't worry, I won't trouble you too much with questions about the blues scale.)

    OK, now I have to pour over Reg's stuff.
    Cool jster, I did another video on your bluesy stuff question.

    And yes, pour over Reg's stuff. I plan on doing that myself. He's a pro, me, I'm thinking I'll always be a student.


  16. #40

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    This will be my take on Misty (ran out of time). This is what I might do with my wife for a duo gig. The Backing track is almost the same as the one I posted at the start of the Misty thread. It is 4 choruses. The first chorus is me comping for my wife (vocalist), the next two are me trying to improv and some of it is "outside" more than usual for me. The last chorus is my wife & I playing together. I didn't add any additional analysis to what has already been done. From my perspective, this is an easy tune and the previous analyses was well done. Please feel free to comment on this submittal, all comments are very much appreciated and will be reviewed to help me improve my playing.

    Note to fep: This is my first result using Reaper and an M-Audio Ultra USB Interface. I have much to thank you for, I don't believe I could have used this home studio system without the help you gave me. I still have a lot to learn (fx effects are out of my reach for the time being). Thank you again for the excellent and lucid help.
    misty new.mp3 - File Shared from Box - Free Online File Storage

    wiz
    Last edited by wizard3739; 04-06-2012 at 09:08 PM.

  17. #41

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    Hey Howie,
    I was watching a Gary Burton class last night and one point among many that he made was the importance of starting a solo with some definitive phrase/idea. That came to mind as I was listening to your Misty. I felt like it meandered a bit too much at the beginning. You played a few notes of the melody. Then there was a long pause. Then you sorta ran down some notes. I would have liked to have heard a bolder beginning. Then when you got going, I felt like you were maybe playing a few too many notes. Also it seemed like you weren't sure how much of the melody you wanted to sketch. Later I liked the mix of some faster runs, some pauses, and some "out" phrases.

  18. #42

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    Quote Originally Posted by wizard3739
    This will be my take on Misty (ran out of time). This is what I might do with my wife for a duo gig. The Backing track is almost the same as the one I posted at the start of the Misty thread. It is 4 choruses. The first chorus is me comping for my wife (vocalist), the next two are me trying to improv and some of it is "outside" more than usual for me. The last chorus is my wife & I playing together. I didn't add any additional analysis to what has already been done. From my perspective, this is an easy tune and the previous analyses was well done. Please feel free to comment on this submittal, all comments are very much appreciated and will be reviewed to help me improve my playing.

    Note to fep: This is my first result using Reaper and an M-Audio Ultra USB Interface. I have much to thank you for, I don't believe I could have used this home studio system without the help you gave me. I still have a lot to learn (fx effects are out of my reach for the time being). Thank you again for the excellent and lucid help.
    misty new.mp3 - File Shared from Box - Free Online File Storage

    wiz
    Right on Howard,

    This is such a treat to listen to.

    Your comping is sounding good on this tune.

    Such a nice guitar solo, you're laid back and it sounds like you have enough ideas to go on forever. Digging your take on the melody in the middle of your solo, and that quote put a smile on my face (it's over the Dbmaj7 to the Dbm7, I can't think of the tune though).

    My one critique would be the last section where you are playing single lines while your wife is singing. I think you should try sticking more to arpeggios and settling on chord tones on your non arpeggio lines. I was hearing some notes that were fighting each other, and I sure want you and your wife to get along.

    Tell your wife I think she sounds great.

    I'm really exited with your recording. Everything is coming through so clearly.

    If I can figure how to do one of those videos that shows my computer screen, I'll put up something on how to add effects. It's really easy to add effects once you've learned how.

    90% of the time I just use EQ, Compression and Reverb.

  19. #43

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    Thank you Frank, I am usually pretty laid back on Ballads and the quote was from "The Nearness of You". I use that once in a while when it sounds appropriate to my ear. I always have doubts when I try to use single note lines when I play behind Colleen. I will try more arpeggios and fewer notes behind her. BTW, your compliment on her singing made her day today. The home studio is going to be a big improvement for future recording and it is a lot of fun to play with. Thanks again Frank!

    wiz (Howie)

  20. #44

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    Quote Originally Posted by jster
    Hey Howie,
    I was watching a Gary Burton class last night and one point among many that he made was the importance of starting a solo with some definitive phrase/idea. That came to mind as I was listening to your Misty. I felt like it meandered a bit too much at the beginning. You played a few notes of the melody. Then there was a long pause. Then you sorta ran down some notes. I would have liked to have heard a bolder beginning. Then when you got going, I felt like you were maybe playing a few too many notes. Also it seemed like you weren't sure how much of the melody you wanted to sketch. Later I liked the mix of some faster runs, some pauses, and some "out" phrases.
    Wow! Gary Burton, must have been fun! Thanks very much for your good comments, they are what I need to help me move forward. I always feel like I am playing too many notes on my solos and I am listening/transcribing more Paul Desmond/Jim Hall music to get my ear educated for fewer notes.
    I purposely played less of the melody than I normally would because my wife/vocalist does state the melody very well.Thanks again for your good comments.

    wiz
    Last edited by wizard3739; 04-07-2012 at 02:24 PM.

  21. #45

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    Quote Originally Posted by wizard3739
    Wow! Gary Burton, must have been fun!
    He still is! He's on youtube. Hehe. I am going to put up a little thread about it in a bit. It's a two plus hour class.

  22. #46

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    tone: fat, clear, and sweet with a bit of bite

    comping under vocal: not sure how it could be any better, what's missing? nothing.

    guitar solo: many interesting melodic ideas;

    could have used some double stop, or two notes together things in the solo.

    but that's only cause I like to hear that kind of thing.


    nice stuff!
    Last edited by markf; 04-07-2012 at 03:40 PM.

  23. #47

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    Quote Originally Posted by Reg
    I know it's about over... but I played Misty at gig earlier tonight... Was in Eb, which I think is standard... anyway here's a quick playing analysis in key of thread, Ab. I down loaded Howie's chart and just played through... It's very rough... but maybe I'll try and play through with backing track tomorrow...
    If anyone would like more details of how I pull from Melodic Minor for blue notes... as opposed to harmonic minor and pentatonic blue notes... I'll posts some samples... check video out and ask about anything and I'll break it down... remember it's not a showcase example... just reading through for analysis info...

    Reg
    Hey Reg,

    I have watched this video a bunch of times. I must have watched the first two minutes 30 times. And it is great to watch you think on your feet. And I learned a couple of things. But I have a bunch of questions.

    1) You say the II-V of the bVII implies Lydianb7. I guess the point there is that we don't want to use Mixolydian because we want to keep the C which is the third of the Tonic? Is that right?

    2) In the first 8 bars, there are no fewer than 5 II-V's. I guess four of them are secondary dominants. And that is cool. But I don't know what you are playing over three of them. The main II-V and the one that implies Lydianb7 I get I guess. But what about the other three. Maybe you could just write out bar for bar what you are playing over each chord? That would help me a great deal. I know that you aren't a simplistic chord scale guy, but here you seem to be deriving appropriate modes and I just don't know which ones you decide on except for the very early Lydianb7. Also, you say Mixolydian once or twice, but it is not clear which one you have in mind. A, Bb, B, C, etc?

    3) Same goes for the bridge. Here you seem to maybe tweak the tune. But I really would like to know what you think of the diminished scale in this tune. And how you are handling the one b5 chord in the tune.

    Thanks a bunch.

  24. #48

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    Quote Originally Posted by markf
    tone: fat, clear, and sweet with a bit of bite

    comping under vocal: not sure how it could be any better, what's missing? nothing.

    guitar solo: many interesting melodic ideas;

    could have used some double stop, or two notes together things in the solo.

    but that's only cause I like to hear that kind of thing.


    nice stuff!
    Thanks Markf, comping is what I enjoy most and it really helps to have a vocalist in the family. I wish I could have spent more time, maybe a couple more takes on this one. We used "Misty" on our last gig and got very good audience response mostly due to my wifes' vocal talents.

    wiz

  25. #49

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    Quote Originally Posted by fep
    Cool jster, I did another video on your bluesy stuff question.


    Thanks fep. I finally got around to watching this video. I'm sorry it took me so long. What happens is I am trying to keep up with maybe 4 or 5 discussions around here and there is a constant tension between saying something immediately and saying something thought out. I should at least watch the videos immediately because sometimes, as in this case, I could have said something quickly. I actually still had your altered scale video on one of the front burners and I intended to get back to that first.

    As for what you say here, it wasn't what I thought you would say. I wasn't expecting you to give me a collection of notes, especially a collection of 9 notes! Hehe. When you said you were playing bluesy stuff over those four bars, I figured OK, he's playing some pentatonics and he has a one or two blue notes that he uses with them. OK, then I figured since it is 4 busy bars, he probably has to use a couple of different bluesy scales like those. And my question was just going bar to bar which one is he using. But maybe you don't approach it that way?

    Since the dawn of time I have used pentatonic scales over say Am Dm E7 or A7 D7 E7 or "Nobody Knows You When You Are Down And Out" or..you get the idea. And almost since the dawn of time I have been adding various blue notes to these scales making them sound good. In fact, while I rarely float my own boat, I can surely making any of the 12 notes sound good during a progression like these, either as a passing note, or with a little bendaroo, or whatever. But then you see these books that give you "blues scales" and I say to myself, "What the #@*&$ is that? Blues don't have no damn scales unless it is the whole stinking chromatic scale and that might not be enough because sometimes a quarter tone is best if your tubes are so hot the overtones are shaking the roof." But I digress. So anyway, I appreciate your not knowing which stinking notes you are using.

    1) Do you think of blues scales as different from pentatonics plus whatever approach notes, chromatic notes sound good at the moment?

    2) I don't use standard tuning so shapes talk doesn't apply to me. Seems like you just pull your scales from the shapes. Is that right?

    3) Could you easily translate those four bars into pentatonics? I could add the blue notes. Does it make sense to use one pentatonic/blues scale over the first two bars, then shift it by a step for a bar, then back for the final bar? Or maybe just Fmin pentatonic over the whole thing? Don't get me wrong. I could make it sound good. But I never know what people mean when they talk about blues scales on non-blues tunes.

    Thanks.
    Last edited by jster; 04-11-2012 at 07:14 AM.

  26. #50

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    Would it also be possible to upload the actual BIAB file? I use BIAB and it would be so much easier to download the file and play it through BIAB instead of the mp3.