The Jazz Guitar Chord Dictionary
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  1. #1

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    I went back and collated Jehu's Practical Standard's list (Practical Standards Song List and Index) with the 1,000 jazz standards list at jazzstandards.com and, amazingly enough, while we had a run at Body and Soul (the no. 1 song on the jazzstandards list) back in Sept 2011, apparently we never had a go at no. 2 on the list -- All the Things You Are. To add some weight (as if that was necessary), ATTYA is listed no. 1 on the Woodshed list of 300. I'd be surprised if it wasn't similarly featured on many (all?) such lists.

    So, our tune for Nov 2016 will be Jerome Kern's All the Things You Are.

    If this selection seems too worn and thread-bare for you, consider an unfamiliar key, a different time signature, a different style, a complete reharmonization, etc.

    I intend to keep the thread titles in a format consistent with this post, so that they might more easily be found in the future. Granted, I shortened "Practical Standards" to "PS" to diminish the potential title lengths. I hope that will work for everyone.
    Last edited by M-ster; 11-20-2016 at 03:07 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    Nice one M-Ster. This is a tune that one can NEVER take for granted. I found that out again the other night.

    I tend to play this one in 3/4. It's common to take the A section in 3 and the B section in 4, which keeps you awake.

    I might try taking this one through the keys. I have a colleague who did this on piano to prove a point to someone on the internet.


  4. #3

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    Hi all,

    8 measures intro, four choruses:

    Attached Files Attached Files

  5. #4

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    You can get your organ trio on with Barcia's .mp3 backing track. Nice!

  6. #5

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    By coincidence, I was searching today for information on TI Bebops vs Swings and found this in a thread from 2010.



    I'm finding this video quite motivating - but it is still going to take me some time to get this down.

  7. #6

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    Does anyone know the VERSE for this song?

    (Barry Harris covered this in a class once. He was very disparaging about the Db7 C7 intro thing which I found amusing since Bird and Diz came up with it.)

    Last edited by christianm77; 11-05-2016 at 04:12 PM.

  8. #7

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    OK, here's my Barry Harris scale breakdown for this tune. Haven't proofread this so there might be mistakes. The middle eight looks mental with those accidentals, but for non-readers, here's the scale breakdown

    1-7 for 1 bar scales, 1-7-1 for 2 bar scales, 7-1 when running a scale down to the third.

    Fm7 --> Ab major (I) (Fm7=Ab6)
    Bbm7 Eb7 --> Eb dominant (V)
    Abmaj7 --> Ab major (I)
    Dbmaj7 --> Db major (IV)
    Dm7b5 G7b9 --> Bb dominant down to the third of G7 (II7)
    Cmaj7 --> C major (III)

    Then, same thing in Eb major.

    Middle 8 is easy
    Am7 D7 --> D dominant
    Gmaj7 --> G major
    F#m7 B7 --> B dominant
    Emaj7 --> E major
    C7b9 --> Eb dominant down to the third of C7

    Fm7 --> Ab major (Fm7=Ab6)
    Bbm7 Eb7 --> Eb dominant
    Abmaj7 --> Ab major
    Dbmaj7 --> Db major
    Gb7 --> Gb dominant
    Ab/C --> Ab major
    Bo7 --> Bb7 down to the third of G7 (?)
    Bbm7 Eb7 --> Eb dominant
    Abmaj7 --> Ab major
    Last edited by christianm77; 11-05-2016 at 04:58 PM.

  9. #8

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    Initially, I must say I thought that this isn't how I approach the tune, as I tend to anchor off chord tones and then build out scales and accidentals from there as the glue to target and connect, however this is actually correct in the way the the key centers moves. I might add that I can't resist turning F#m7 B7 --> B dominant into a minor 7th b5 as the melody works either way, and the C7 I flip to a 7#5 as the third of E Maj becomes the #5 of C7 and then becomes the minor 3 of Fm7 .....a nice voice leading device

    Oh, and the Am7 to D7th just before that can be a minor 7th b5 too

    Thanks for posting....


    PS.... excuse me, the ireal chart show the B half diminished and #5 already on it, so I ain't so clever after all. I must have read that in a chart somewhere.
    Last edited by docdosco; 11-05-2016 at 07:46 PM.

  10. #9
    So, natural 11's on the IV chords?

  11. #10

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    Can't be. It's got to be raised to stay in key

  12. #11

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    Quote Originally Posted by docdosco
    Can't be. It's got to be raised to stay in key
    I know what I wrote.

    Take it up with Barry Harris. ;-)

    Natural 11ths on dominants are fine if that's what you want when you are soloing. He was quite clear with respect to this in Cherokee with the Ab7. The melody note is D in the tune, which makes the chord what jazzers would call a Ab7#11, but when soloing he said Ab dominant with the normal 4th was fine.

    You could of course substitute (melodic) minor on the 5th of the chord, but that's another exercise.

    It's a school. Very specific.

  13. #12
    Quote Originally Posted by christianm77
    I know what I wrote.

    Take it up with Barry Harris. ;-)

    Natural 11ths on dominants are fine if that's what you want when you are soloing. He was quite clear with respect to this in Cherokee with the Ab7. The melody note is D in the tune, which makes the chord what jazzers would call a Ab7#11, but when soloing he said Ab dominant with the normal 4th was fine.

    You could of course substitute (melodic) minor on the 5th of the chord, but that's another exercise.

    It's a school. Very specific.
    Not talking about dominant though. I'm talking about the Gb on the IV chord - Dbmaj.

  14. #13

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    Quote Originally Posted by docdosco
    Initially, I must say I thought that this isn't how I approach the tune, as I tend to anchor off chord tones and then build out scales and accidentals from there as the glue to target and connect, however this is actually correct in the way the the key centers moves. I might add that I can't resist turning F#m7 B7 --> B dominant into a minor 7th b5 as the melody works either way, and the C7 I flip to a 7#5 as the third of E Maj becomes the #5 of C7 and then becomes the minor 3 of Fm7 .....a nice voice leading device

    Oh, and the Am7 to D7th just before that can be a minor 7th b5 too

    Thanks for posting....


    PS.... excuse me, the ireal chart show the B half diminished and #5 already on it, so I ain't so clever after all. I must have read that in a chart somewhere.
    Your way of thinking is different to the BH school. You will be assimilated. Resistance is futile...

    Err sorry... I meant to say .... It's a drill. Not a drill that will bore into your brain so that we can implant bebop cybernetics, but rather an example of a very stock way of practicing scales over a chord progression that Barry students will apply to pretty much everything.

    It's not terribly sophisticated harmonically, but if you run it, it will make you better at soloing through the tune, I guarantee it.

  15. #14

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    Quote Originally Posted by matt.guitarteacher
    Not talking about dominant though. I'm talking about the Gb on the IV chord - Dbmaj.
    Gotcha, misread that.

    Yeah, I thought the way that sounded was more Barry, the Db Lydian seemed a bit alien/modern/non-bebop to my ears, even though it's for one bar.

    YMMV, carry on with Ab major there if you like. It makes it simpler. Alan! What do you think?
    Last edited by christianm77; 11-05-2016 at 08:20 PM.

  16. #15

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    Well, I guess one can force whatever against whatever if it's done right.

    We are talking about the 4 chord of Ab, the Dbmaj correct? and the note in question is the Gb as opposed to the G natural?

    I realize that 4ths and #11 are interchangable or substitutable in certain instances (lydian concept ??? if I recall my theory....or maybe it's called something else) and that the 4ths can simply be omitted. Joe Pass liked to do this to avoid the flavor of either 4th in certain places. Major scale, drop the 4th.

  17. #16

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    Ah, I see.

    When I sing, the raised 4th is natural to my ear. However like I said, both can be used together, one as a passing tone to the other. Maybe it would amount to some kind of 8 note bebop scale. I'd have to check as the 3 I am familiar with are based on:

    mixolydian bebop, dorian bebop, major bebop

  18. #17

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    Quote Originally Posted by docdosco
    Well, I guess one can force whatever against whatever if it's done right.

    We are talking about the 4 chord of Ab, the Dbmaj correct? and the note in question is the Gb as opposed to the G natural?

    I realize that 4ths and #11 are interchangable or substitutable in certain instances (lydian concept ??? if I recall my theory....or maybe it's called something else) and that the 4ths can simply be omitted. Joe Pass liked to do this to avoid the flavor of either 4th in certain places. Major scale, drop the 4th.
    This isn't CST, lydian concept, any of that gas - we aren't concerned here with the vertical relationship over every note in the scale, only the ones that are rhythmically important. The other notes are simply dissonant passing tones:

    Db Eb F Gb Ab Bb C

    We run up to the 7th because that puts the chord tones of Dbmaj7- bold - on the beat. It's not terribly important what you do with note 4 here because it is a non-harmonic passing tone, but - I did prefer the sound of the Gb - made it feel like the tonality had moved decisively to Db which seemed stylistic to me.

    TBH if we are going to get into in depth discussion of the BH school might be best to do this on the Barry Harris thread before this becomes completely derailed. These questions aren't so much about the song itself as general principles.
    Last edited by christianm77; 11-05-2016 at 08:29 PM.

  19. #18

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    mixolydian is a dominant scale that adds the b7 and maj 7th

    dorian adds the b3 and maj3

    major bebop is the 4 and b5

  20. #19

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    Quote Originally Posted by christianm77
    This isn't CST, so we aren't concerned with the vertical relationship over every note in the scale, only the ones that are rhythmically important. The other notes are simply dissonant passing tones:

    Db Eb F Gb Ab Bb C

    We run up to the 7th because that puts the chord tones of Dbmaj7- bold - on the beat. It's not terribly important what you do with note 4 here because it is a non-harmonic passing tone, but - I did prefer the sound of the Gb - made it feel like the tonality had moved decisively to Db which seemed stylistic to me.

    TBH if we are going to get into in depth discussion of the BH school might be best to do this on the Barry Harris thread before this becomes completely derailed. These questions aren't so much about the song itself as general principles.



    It's OK with me. I am just trying to get the idea of which way is which with the diagram here.

    I play that part harmonically with the key, but that's not the 'correct' way. It's just one way. I always liked Barry Harris's approach, BTW

  21. #20

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    Quote Originally Posted by christianm77
    It's not terribly sophisticated harmonically, but if you run it, it will make you better at soloing through the tune, I guarantee it.

    Ha! I am not quite a neophyte. However I am always open to new things.

    Did I mention I used to play a live duo with Joe Albany in the 80's? He was Charlie Parker's piano player in the LA years. Therefore through a process of osmosis and hanging out......and no particular skill on my part, I absorbed second hand, twice removed, 30 years later, bebop from the source .... yuk yuk

  22. #21

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    Quote Originally Posted by docdosco
    Ah, I see.

    When I sing, the raised 4th is natural to my ear. However like I said, both can be used together, one as a passing tone to the other. Maybe it would amount to some kind of 8 note bebop scale. I'd have to check as the 3 I am familiar with are based on:

    mixolydian bebop, dorian bebop, major bebop
    Ahhh the natural 4th. The most interesting note in the major scale, and the modern jazzers get rid of it. :-)

    Anyway, whether or not you would sing a 4th would surely depend on context. A natural 4th is likely what most people would sing in an ascending scale, at least in the Western world.

    If a natural 4th is sounded by leap on a major chord (maj7, 6, maj9 etc) it will sound like a clam, unless you resolve it by a half step downwards to 3 (and, of course, you have completely heard it before you played it of course) - this is the way a classical musician, or a bebop improviser would use it. We would call this an appogiatura - a leaning note. Nothing unusual about that.

    The melody to Chi-Chi was a good example of an accented 4th use in this way. The melody of Stella by Starlight has some nice examples. They both resolve in the expected way 4-->3. In Kodaly it is represented by a downward pointing thumb, perhaps for this reason.


    I was listening to a very humorous piece on the radio by Meredith Monk the other day, that was very simple diatonic major harmony but the melody kept hitting an unresolved 4th by leap which just sounded rank in a funny kind of way. It was like deliberately bad composition. I wish I could track it down.

    The 4 + a major triad would be a natural choice for one of Jordan's quadrads. Come to think of it, that would be an excellent way to master the use of the note for a student.

    As far as bebop (Barry's thing) goes I have yet to hear a #4 used over a I major function chord (of course there are many examples over dominant chords.)
    Last edited by christianm77; 11-05-2016 at 08:50 PM.

  23. #22

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    Quote Originally Posted by docdosco
    Ha! I am not quite a neophyte. However I am always open to new things.

    Did I mention I used to play a live duo with Joe Albany in the 80's? He was Charlie Parker's piano player in the LA years. Therefore through a process of osmosis and hanging out......and no particular skill on my part, I absorbed second hand, twice removed, 30 years later, bebop from the source .... yuk yuk
    I'd still recommend giving it a go if it is new to you. Writing this is making me realise I should get back into it.

    Did Joe talk much about the nuts and bolts, or was he more of a 'learn by playing and listening' guy?

  24. #23

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    Quote Originally Posted by docdosco
    mixolydian is a dominant scale that adds the b7 and maj 7th

    dorian adds the b3 and maj3

    major bebop is the 4 and b5
    This is not the way Barry formulates it, ihe never talks about bebop scales... More of a David Baker/Mark Levine thing. Isn't major bebop 5 and #5 normally?

    The Barry approach kind of has right and wrong - or more like established systems for doing things. I actually think there's a lot to be said for that. It doesn't mean it's a reflection of all music (although I find it reflects actual bebop very well.)

    In any case it's quite nice because I can just say 'that's the school as I understand it.' Someone can correct me if I've misunderstood something, but if I've got it right, that's a really straight up thing to be able to say.

    In terms of my own actual playing, I have accumulated layers of things I've practiced over the years.
    Last edited by christianm77; 11-05-2016 at 09:04 PM.

  25. #24

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    Great tune!

    In Ab...

    Ab to C to Eb to G to E.

    Then back to Ab.
    Last edited by Drumbler; 11-05-2016 at 09:05 PM.

  26. #25

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    Yes, but we were talking about the natural 4 and raised 4 over the IV chord. The raised 5th (lydian concept) is not a bebop thing. It seemed to occur in the cool jazz period and mostly on the tonic (I guess, although there are harmonic changes like the diatonic chords on the 7 steps of a major scale that occur with that pesky raised 4th).

    The major 4th is the 7th in a dominant 7th chord, and it of course resolves down a half step to resolve. That is pretty obvious, however using the raised 4th is a tricky deal in when and where to stick it. I love it in a dominant chord... 7b5 or 7#11 if one prefers. Very tasty.
    Last edited by docdosco; 11-05-2016 at 09:07 PM.