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  1. #76

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    Quote Originally Posted by christianm77
    Very much a sketch/work in progress
    I liked it quite a lot, but contrary to Mr. Beaumont, I preferred the first 4/5ths of it.

    Similar to Mr. Beaumont's entries, where I liked the initial one more than sequels.

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    The Jazz Guitar Chord Dictionary
     
  3. #77

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    Quote Originally Posted by Vladan
    I liked it quite a lot, but contrary to Mr. Beaumont, I preferred the first 4/5ths of it.

    Similar to Mr. Beaumont's entries, where I liked the initial one more than sequels.
    See - somethin' for everybody ;-)

  4. #78

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    Ok, another pass...felt atmospheric today, excuse the 'verb.

    I was trying to play some Trane like repetitive stuff, but it came out more like grant green.


  5. #79

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    very nice jeff

  6. #80

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    Quote Originally Posted by nick1994
    i done a quick solo version, loving the interpretations so far
    Like the sound of your guitar on this, Nick.

  7. #81

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    Quote Originally Posted by M-ster
    Like the sound of your guitar on this, Nick.
    thanks it's very tele-sounding

  8. #82

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    Quote Originally Posted by fuzzthebee
    This thread seems to fizzled, slightly. I would post another, but I don't have much new to add. I have, however, been dabbling in pentatonic scales on this tune. You can map out some nice combinations working through the changes:

    Eb13 sus - Ab pentatonic (11, 5, 13, R, 9)
    Ebmin9 - Db pentatonic (b7, R, 9, 11, 5)
    Amaj7/Eb - E pentatonic (5, 13, 7, 9, 3)
    Gmaj7/Eb - A pentatonic (9, 3, #11, 13, 7)
    Abmaj7 - Eb pentatonic (5, 13, 7, 9, 3)

    On the Gma7/Eb, which is essentially the V chord, I went with the A pentatonic instead of a D pentatonic. This gives a nice tritone sub sound, introducing more upper extensions and breaking up all the parallel movement. Also, you get a movement up fourth from the preceding E pentatonic, echoing the movement between the first two chords of the tune.

    Cbmaj7/Bb - Gb pentatonic (5, 13, 7, 9, 3) aka Eb min pent so you get switch from maj to min from previous chord.

    Bb13b9 - had to 'invent' some here, all derived from H/W diminished.

    Oh boy, gotta go to bed! Hopefully no typos or fatigue errors in there.

    Mike
    Cool.

    not necessarily speaking to this tune specifically, although it works well here, but I like the sound of a min7b5 pentatonic a tritone away on a maj7 chord, e.g. Dmi7b5 pentatonic (D E F Ab C) over Abmaj. You can work the usual symmetric patterns you are used to over min pentatonics and just lower the 5th, and the tritone thing makes it easy to use.

    One other thing, the New real book offers different changes than Howie and the old real book have. They are not too distant, but they give a different perspective on the tune. Kind of a reverse-Martino "de-minorization"
    Last edited by pkirk; 04-20-2016 at 10:00 PM.

  9. #83

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    Quote Originally Posted by pkirk
    ... One other thing, the New real book offers different changes than Howie and the old real book have. They are not too distant, but they give a different perspective on the tune. Kind of a reverse-Martino "de-minorization"
    Cool, I'm totally for it. I think replacing a minor with an major has much more impact than "minorization". "Minorization" is kind of cheap, if not in Martino's way, it surely became so in Clapton's.

    I call it "Scary Majors". Of course, It can also come out cheap if you do not pay attention about (ab)use of clichés, but minors are much, much worse, IMO.

  10. #84

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    For example, my version of Naima, hopefully I will post it soon enough, goes like this, as far as chords ...

    1st 4 bars, all over E ostinato bass ...

    DM7(9)| GM7| C13 C9 C7 E7#9| A7 E+ AM7|

    ... all majors ... cool ... I actually feel it more like 8 bars in double tempo, or 4 bars in 8/8, then 4 bars in 4/4.

    Think "Venus in Furs" by The Velvet Underground, only pretty.

    EDIT: 8 bars to 4
    Last edited by Vladan; 04-21-2016 at 08:52 AM.

  11. #85

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    Yea... as always still great thread... really cool to see lots of players getting into learning jazz tunes and what performing jazz tunes involves. Years ago when I got this thread going, with help from more qualified people... anyway the point was to teach guitarist to become....

    1) aware of what Jazz tunes were
    2) aware of what playing a tune in a jazz style was
    3) What it was to perform as a jazz player

    There was a lot of other technical BS.... theoretical and harmonic BS, but.

    The thread was developed from my weak attempts, (a mid level working pro), to play through tunes and try and help guitarist understand how to get to the level of musicianship to.. play jazz. It was never a showcase, that section was and is still there.

    The point was to help get guitarist involved... help them get to that point where they could post attempts at different tunes and eventually just be able to play jazz, which covers a lot of skills. It was an inside look at how I approached playing, I never rehearsed etc... I just turned on the camera and tried to show how it can work. My point wasn't to make me look good, if anything I generally made myself look lousy... but that was the point, show how to develop the skills of playing in a jazz style, not just rehearse and memorize tunes. Although you generally would by going through the process... learn tunes.

    In the end... we're all just guitarist, and whatever else we do. We're not generally saving the world or really even doing anything to help. If you even care about any of that stuff.... you can use your skills and volunteer at homeless etc... I've done it, (and still do), all my life, it makes a difference.

    If you want to see how your jazz playing is... have someone throw a sets worth of original or arranged jazz tunes in front of you... at live gig and start. Generally if you could even attempt... your pretty good, if you can play the charts as written, your getting better, and if you can play all the music that's not actually notated and lock in the grooves and feels with the rest of the musicians.... you can listen and hear. Hey your a workin jazz player, you now qualify to work your ass off for not enough money.(joke)

  12. #86

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    @Reg

    Maybe it's just where I am but there's a lot of kudos attached to having an extensive standards repertoire in the more professional straight-ahead circles and people get a pissy if you need to look at a chart. Do you not come across this?

    Anyway, being able to play arrangements and originals at sight is a very useful skill to develop as well... .It's slowly getting better. The secret TBH as I understand it is to do it. A lot. Especially in situations where it matters, it's nothing like practicing at home.

  13. #87

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    May have been answered, but how are you guys approaching the E7 in the B section? It's sounding weird to me, voicings or ideas appreciated.

  14. #88

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    Think E13#11. Lydian dom.

    Or Dmaj7b5.

    Hang on notes are A#, C#, and F#, to my ears. (Bb, Db, Gb, if easier to think with Bb pedal)

  15. #89

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    I had fun earlier this month working with you guys on this one, but I got pulled off by a couple of opportunities that came up.

    but the first part of the month was real fun, and this tune was something that was outside what I normally play, too.

    I don't think this is going to be a new tune for my trio, though. I got together with my bass player and we played through it, but he didn't really buy in. What he said was "if we're going to play a ballad, then let's play..." and then he rattled off about a half dozen tunes he would rather play. After 20 years together, I'm not going to make the man play something he isn't into playing, so that's that.

    but I did get a new solo piece out of all this, so nothings lost

  16. #90

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    Latest take on this.