Reply to Thread Bookmark Thread
Page 1 of 3 123 LastLast
Posts 1 to 50 of 121
  1. #1

    User Info Menu

    I'm a day or more early, but I'd like to have a new tune in place at the beginning of each month.

    December's Practical Standard is I Can't Get Started (With You), by Vernon Duke and Ira Gershwin.

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2
    joaopaz Guest
    I guess this will be my take to jump into these threads (still very new to the forum
    I suppose it's about discussing it, record and share an audio/video take of me playing it, right?
    Great choicem by the way!

  4. #3

    User Info Menu

    Yeah, basically it just becomes a discussion about a song, with a bunch of musical examples/videos made by members.

    It's my favorite thing about this place! (And there's a lot I like about this place)
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  5. #4
    joaopaz Guest
    Quote Originally Posted by mr. beaumont View Post
    Yeah, basically it just becomes a discussion about a song, with a bunch of musical examples/videos made by members.

    It's my favorite thing about this place! (And there's a lot I like about this place)
    Thanks! Saw you playing on November's thread, very cool! 8-)

  6. #5

    User Info Menu

    Quote Originally Posted by joaopaz View Post
    Thanks! Saw you playing on November's thread, very cool! 8-)
    Thank you sir!

    By the way, M-Ster, great choice for this month. Great tune with a few fun harmonic twists...it'll be interesting to see how everyone plays bar 3 and 4, I'm not sure I've ever heard two versions of this tune that are the same there!
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  7. #6

    User Info Menu


  8. #7

    User Info Menu

    I 've got started... just going through Spotify to listen to every known arrangement... I didnt know Mingus was such a good piano player, yes sirree.

    I have done this song before but we'll see what happens :-)

  9. #8

    User Info Menu

    Django, Joe Beck, Oscar Moore, Jimmy and Doug Raney, a few others on my Spotify feed...

    The Zoot Sims with Jimmy Rowles version is my favorite so far. Wow.

    Listening to Bob Brookmeyer now. Man, I don't ever get tired of that guy.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  10. #9

    User Info Menu

    YouTube is much better. So far there's Barney Kessel, Jim Hall, Jim Mullen, Joe Pass and Billy Bean. Interesting...

    Nice 'n slow in C, right? Don't be fooled :-)

  11. #10

    User Info Menu

    Quote Originally Posted by mr. beaumont View Post
    Django, Joe Beck, Oscar Moore, Jimmy and Doug Raney, a few others on my Spotify feed...
    Sorry, jumped the posts there. I saw Django and Zoot Sims but didn't listen to all the tracks.

  12. #11

    User Info Menu

    Check those out for sure. No guitar on the Zoot, but who cares?

    This has been a very pleasant morning listening to all the different takes on this one.

    More standouts: Lee and Warne, and Bud Shank.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  13. #12

    User Info Menu

    Hmm, do you think CHRISTMAS is going to get in the way? Or are we going to be all right? :-)

  14. #13

    User Info Menu

    I hope not. Aside from a few notable exceptions, I hate Christmas music.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  15. #14
    joaopaz Guest
    This was always one of my favourite guitar recordings 😁... enjoy!



    Enviado do meu ALE-L21 através de Tapatalk

  16. #15

    User Info Menu

    Quote Originally Posted by joaopaz View Post
    This was always one of my favourite guitar recordings
    Yes, that's lovely. Good one.

  17. #16

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Hmm, do you think CHRISTMAS is going to get in the way? Or are we going to be all right? :-)
    Ha! Thanksgiving has delayed my November post, so I'm thinking Christmas will do the same -- at least for me ...

  18. #17

    User Info Menu

    Oh, I think we'll survive for a few days... maybe :-)


    (Seriously, I expect we'll have the tune done and dusted by then anyway* and all be working on our earth-moving versions of Jingle Bells.. )


    * except bars 3/4 for which many of us will require counselling

  19. #18

    User Info Menu

    Just saying hello in what is proving to be a friendly thread.

  20. #19

    User Info Menu

    Hello :-)

  21. #20

    User Info Menu

    Seems like this is one of those tunes with an unremarkable, forgettable bridge. But maybe that's an advantage for improv, since you can make what you want of it.
    His changes start something like:
    | CM7 Am7 | Dm11 G13 | E7 F9 | D13 (Ebdim7) |
    Note that F9 has the same notes as Cm6, which momentarily suggests you've gone to the minor key. It's kind of cool to play around with that idea, but I doubt many play it that way these days. (It wouldn't surprise me if Howard Alden did!)
    The Ebdim7 is omitted when singing the melody since it clashes, but it works for solos.
    Edit2: I found a version of this tune featuring Howard Alden! (If this link doesn't work for you, scroll down to ragman's post.)
    Last edited by KirkP; 12-01-2016 at 09:54 PM.

  22. #21

    User Info Menu

    Quote Originally Posted by KirkP View Post
    . His changes start something like:
    | CM7 Am7 | Dm11 G13 | E7 F9 | D13 (Ebdim7) |
    Note that F9 has the same notes as Cm6, which momentarily suggests you've gone to the minor key ...
    It ends half step up, during ending solo they change key.


    Sent from VladanMovies @ YouTube
    ^ ^ ^
    <<< My BlogSpot Page >>>
    v v v

  23. #22

    User Info Menu

    Quote Originally Posted by KirkP View Post
    I found a version of this tune featuring Howard Alden!
    When I hit the link it came up unavailable. I found it on YouTube, tried it here and it works. Sorry if this is going to be a duplicate for some people.


  24. #23

    User Info Menu

    Clifford Brown goes



    Bm7 E7 Bbm7 Eb7 | Am7 D7 Abm7 Db7 | in bars 3-4

    As far as I can hear.

    The Benny Carter goes the same, at least in the bass.

    I learned

    E7 A7 | D7 G7 | but this doesn't actually fit the melody.

    Barnes/Venuti - I think it's

    E7 Am7 | D7 G7 |

    But then he also plays the sideslip ii-V thing too...

    also works as a good turnback for bars 7-8 of the first A section which is what Barnes and Venuti do.

    With Bunny Berrigan it's a little more complex because of the sax arrangement,
    His changes start something like:
    | CM7 Am7 | Dm11 G13 | E7 F9 | D13 (Ebdim7) |


    I don't hear the F9 - think it might be an Ebdim7.

    Feel free to correct my jabberings

  25. #24

    User Info Menu

    What is all this with these chords?

    The vanilla version is just |E7 Am| D7 G7| which works fine.

    Then there's the Real Book 'minor' version which is |E7 Am7b5| D7b9 G7|. They also give the alternate |Bm/ E7| Bbm Eb7| Am/ D7| Abm Db7|.

    (The various backing track variations are mostly one of those).

    The Joe Pass transcription's good: |Bm7b5 E7#5#9| Am7 Eb7|D11 Db13|... !

    KirkP thinks this is good:| E7 F9 | D13 (Ebdim7) | (F9??). Someone else mentioned Cm but I can't remember where. Maybe Cm6 is Am7b5, I don't know.

    And so on. Why do we care? Does it really make much difference? Can someone please tell me? :-)

  26. #25

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    What is all this with these chords?

    The vanilla version is just |E7 Am| D7 G7| which works fine.

    Then there's the Real Book 'minor' version which is |E7 Am7b5| D7b9 G7|. They also give the alternate |Bm/ E7| Bbm Eb7| Am/ D7| Abm Db7|.

    (The various backing track variations are mostly one of those).

    The Joe Pass transcription's good: |Bm7b5 E7#5#9| Am7 Eb7|D11 Db13|... !

    KirkP thinks this is good:| E7 F9 | D13 (Ebdim7) | (F9??). Someone else mentioned Cm but I can't remember where. Maybe Cm6 is Am7b5, I don't know.

    And so on. Why do we care? Does it really make much difference? Can someone please tell me? :-)
    Depends how into standards you are and what kind of guys you are playing with. Some people are very exacting about changes and really know their standards. Others are more relaxed and happy to have the harmony a bit vague.

    It's part of the process of learning a tune to me. Listening to a few different versions and hearing what people have done, what the history of that tune is and what substitutions people play. Good ear training too.

    I'd be interested if anyone knows a version with Am7b5 in that bar. I heard Ao7/Ebo7. I think they just put that in to make it a minor ii-V. Typical Real Book haha. (The Real Book often has mistakes, bad changes, BTW, although the Sher books are reliable.)

    The alternate is what I think of as the Clifford changes.

    Dig deep enough into most well known standards and you will find stuff like this. The thread on 'Here's that Rainy Day' is a case in point.

    These alternate changes are rarely different enough to cause huge problems (especially when you are soloing) - but sometimes they are, and Rainy Day is a classic example. The first chord chord be major or minor depending on who you ask.

    Another common problem is people playing changes that clash with the melody. For example, never play a Bbm7 when accompanying the head for Days of Wine and Roses. But that's more people not knowing the songs properly, or not thinking about the melody enough.
    Last edited by christianm77; 12-02-2016 at 11:09 AM.

  27. #26

    User Info Menu

    BTW if we get around to doing Embraceable You, that could get confusing haha :-)

  28. #27

    User Info Menu

    I'm liking the diminished at the end of bar 4...that's what I'm hearing on that Zoot Sims version too.

    I'll try to get up this weekend. Great tune.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  29. #28

    User Info Menu

    I had a go today, but I'm having a bit of trouble getting going on this one :-)

  30. #29

    User Info Menu

    Quote Originally Posted by christianm77 View Post
    happy to have the harmony a bit vague.
    Oh, I'm not. I want to know what I'm doing!

    The alternate is what I think of as the Clifford changes.
    What are they?

    So what are the right ones then, basically speaking? And if lots of players do different things what does it matter as long as it fits?

    (I've got a feeling that at speed it doesn't make a lot of difference. Slowly would, however, because the ear's more sensitive to the harmonies. Good harmonies = good feeling).

  31. #30

    User Info Menu

    Quote Originally Posted by christianm77 View Post
    I had a go today, but I'm having a bit of trouble getting going on this one :-)
    Quite. That's why I just got on with it!

    (And may I repeat the Joe Pass version: |Bm7b5 E7#5#9| Am7 Eb7|D11 Db13|... !)
    Last edited by ragman1; 12-02-2016 at 11:38 AM.

  32. #31

    User Info Menu

    You may be interested in this. It's a trumpet site with pdf's etc. Various versions:

    Bunny Berigan |E7 Am7|E7 A7|

    Roy Eldridge |Bm7 E7 Bbm7 Eb7|Am7 D7 Abm Db7|Cm7 Am7|

    Dizzy Gillespie |Bm7 E7 Bbm7 Eb7|Am7 E7 Abm7 Eb7b5|

    JAZZ TRUMPET TRANSCRIPTIONS Jacques Gilbert

  33. #32

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Oh, I'm not. I want to know what I'm doing!



    What are they?

    So what are the right ones then, basically speaking? And if lots of players do different things what does it matter as long as it fits?

    (I've got a feeling that at speed it doesn't make a lot of difference. Slowly would, however, because the ear's more sensitive to the harmonies. Good harmonies = good feeling).
    No idea, I don't think there is a right and wrong necessarily. I actually think people who talk about 'the right changes' are probably dickheads. :-)

    I think listening is always the right answer to any question in music.

    Listening to recordings can help you know what the options are so you can keep your ears out to what the other players are doing, and work around the melody. It's good to be able to hear as much as possible.

    Stylistically, if I was playing swing I would probably just play E7 Am | D7 A7 | or perhaps E7 Am | D7 Ebo7 | but then if it were a later style, probably would go for the alternate changes.

    Also, I think on the Benny Carter version sometimes the piano in playing the vanilla changes and the bass (Milt Hinton?) is playing the bop changes. Sounds OK.

    Really I'm talking about accompanying the melody, working with singers and so on. But sometimes if you hear the soloist playing a version of the changes you recognise you can play the right accompaniment.

  34. #33

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Quite. That's why I just got on with it!

    (And may I repeat the Joe Pass version: |Bm7b5 E7#5#9| Am7 Eb7|D11 Db13|... !)
    Going from which bar?

  35. #34

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    You may be interested in this. It's a trumpet site with pdf's etc. Various versions:

    Bunny Berigan |E7 Am7|E7 A7|
    That's not how I heard it - but I'll give it another listen... My chordal ears aren't the greatest.

    Roy Eldridge |Bm7 E7 Bbm7 Eb7|Am7 D7 Abm Db7|Cm7 Am7|

    Dizzy Gillespie |Bm7 E7 Bbm7 Eb7|Am7 E7 Abm7 Eb7b5|

    JAZZ TRUMPET TRANSCRIPTIONS Jacques Gilbert
    Ah so Eldridge started the chromatic sideslip thing did he?

    The Dizzy variation is interesting, will have a listen to that.

  36. #35
    joaopaz Guest
    Hi guys!

    Since I'm going to follow this thread 'til the end I thought I could start with a just play-by-ear take; put one note in front of the other very simple stuff, just eight notes or less.

    It's an honest take, the first one (and only) I recorded ... at this point I know very litte about this music - other than listening to a few YT tracks last night. I know it starts in Cmaj7, I know everyone's talking about the bars 3/4 (E7 / Amin7?) and also about a Edim that just popped up.

    I heard many times, of course, the George Barnes version (and I borrowed a few notes somewhere) but I'm, at this point, very much in the dark about structure, chord changes, etc. It's a very melodical tune and I always like that and maybe feel more comfortable for starters, as I did.

    Anyway, my idea posting this is that it will force to proceed, study this tune properly, and hopefully later add another, better version.

    Hope not to single-handedly, bring down the whole level of the thread


  37. #36

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    KirkP thinks this is good:| E7 F9 | D13 (Ebdim7) | (F9??).
    I was just analyzing the Bunny Berigan recording since it's one of the earliest. I commented that the F9 I heard in the recording could also be thought of as Cm6. Since then, I've found one reliable fake book listing that chord as Am7b5, which has the same notes as Cm6, so I guess my ears weren't fooling me. December 2016 - I Can't Get Started
    The Bunny Berigan changes are interesting, but I usually prefer changes closer to "vanilla" (or melody-driven). Then I'll add extensions and tritone subs to jazz them up. I try not to use charts that are reharmonized according to some "definitive" recording -- I'll reharmonize my own way, thank you. But I think comparing the harmonic choices different performers have made is interesting and useful in helping me make the tune my own.
    Here's a really nice version - Oscar Peterson Quartet backing up Lester Young. Barney Kessel's voicings are great.

    Here's an ireal-pro chart based on what I hear in this recording.
    I'm sure most of you know Db7 is just a tritone sub for G7. Db9 is basically the same as G7b5b6b9, without the root. The bass player determines the name.
    Last edited by KirkP; 12-02-2016 at 03:02 PM.

  38. #37

    User Info Menu

    Quote Originally Posted by christianm77 View Post
    No idea, I don't think there is a right and wrong necessarily. I actually think people who talk about 'the right changes' are probably dickheads. :-)
    Well, that's why I'm saying it might not matter that much :-)

    Listening to recordings can help you know what the options are
    Er, isn't that what's led to all this confusion??!

    Also, I think on the Benny Carter version sometimes the piano in playing the vanilla changes and the bass (Milt Hinton?) is playing the bop changes. Sounds OK.
    Which one? There are 101 versions on YouTube! The first two are doing E7 Am Dm G9 or something like that. Nothing very clever.

    Going from which bar?
    Eh? Mine all start from the chorus.

    Ah so Eldridge started the chromatic sideslip thing did he?
    No, I did! I did that first vid before I even looked at any of this. When I saw E7-Am-D7-G7 I thought 'Ah, Bm-Am so I put in the Bbm and it became Bm-Bbm-Am-Ab7-G7. Honest :-) (But I didn't use it - too many chords at that speed).


    Anyway, can't hang around chatting with you all day. Some of us have got lush ballads to work out!
    Last edited by ragman1; 12-02-2016 at 03:24 PM.

  39. #38

    User Info Menu

    Quote Originally Posted by joaopaz View Post
    just eight notes or less
    Well, you exceeded your quota then! That's a joke :-)

    What was wrong with that? You're very tentative but you obviously know what you're doing. A bit more familiarity etc...

    Btw, were you playing solely by ear or did you already know the chord sequence? It didn't look like you were reading them.

  40. #39

    User Info Menu

    Quote Originally Posted by KirkP View Post
    Oscar Peterson Quartet backing up Lester Young. Barney Kessel's voicings are great.
    Kirk, that's the second vid that's come up unavailable. How are you posting them? Did you mean this version?


  41. #40

    User Info Menu

    Christian -

    I've just listened to Dizzy Gillespie - just this one, not all the way through. At about 0.43 they play E7-Eb7-D7-Db7. No question.

    Oh god! Make it go away!!

    Last edited by ragman1; 12-02-2016 at 03:44 PM.

  42. #41
    joaopaz Guest
    Quote Originally Posted by ragman1 View Post
    Well, you exceeded your quota then! That's a joke :-)

    What was wrong with that? You're very tentative but you obviously know what you're doing. A bit more familiarity etc...

    Btw, were you playing solely by ear or did you already know the chord sequence? It didn't look like you were reading them.
    December 2016 - I Can't Get Started no, I'm not reading... actually (just checked) you can see the Real Book behind me in the music stand!
    I just wanted to do a first take before diving into the changes and analysis.
    (I feel a bit embarrassed with that video already! ... but as Wayne Shorter says jazz means "I dare you" December 2016 - I Can't Get Started )

  43. #42

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Kirk, that's the second vid that's come up unavailable. How are you posting them? Did you mean this version?
    That's the same track. I wonder if we have a problem with youtube's international licensing. What country are you in?

  44. #43

    User Info Menu

    Quote Originally Posted by KirkP View Post
    That's the same track. I wonder if we have a problem with youtube's international licensing. What country are you in?
    UK. I think it's a US/UK thing.

  45. #44

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Christian -

    I've just listened to Dizzy Gillespie - just this one, not all the way through. At about 0.43 they play E7-Eb7-D7-Db7. No question.

    Oh god! Make it go away!!
    Tunes with endless cycles of 6-2-5-1 can get really boring. Tritone subs give you that downward chromatic cycle which provides some relief from that merry-go-round. Dizzy does it one way and Barney another. I think they're all good. The trick is to be familiar with them all and be able to hear them on the bandstand so you can adapt to your bandmate's choices in real time.
    That's another reason I try to first learn a tune in its vanilla form. The vanilla changes are sort of a "lowest common denominator" between all the reharmonized versions, so if you know the vanilla version and understand how subs work you can quickly figure out what your bandmates are playing. At least that's how I think it should work -- I have a long way to go to get there, but I've seen progress since I started approaching tunes that way. December 2016 - I Can't Get Started
    Last edited by KirkP; 12-02-2016 at 04:27 PM.

  46. #45

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Quite. That's why I just got on with it!

    (And may I repeat the Joe Pass version: |Bm7b5 E7#5#9| Am7 Eb7|D11 Db13|... !)
    Interesting, the first 4 bars lead me to play an E A G powerchord riff, but when I manage to resist the urge bars 3 and 4 come out as
    ... Bm7b5 E7+| Am7 B+| ...

    ... And B+ is quite the same as Eb+, which is on the line with Joe's Eb7, which IMO comes from modulating that Am(7) to A(7(9)) ...


    Sent from VladanMovies @ YouTube
    ^ ^ ^
    <<< My BlogSpot Page >>>
    v v v

  47. #46

    User Info Menu

    Last edited by ragman1; 12-02-2016 at 05:37 PM.

  48. #47

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    You may be interested in this. It's a trumpet site with pdf's etc. Various versions:

    Bunny Berigan |E7 Am7|E7 A7|

    Roy Eldridge |Bm7 E7 Bbm7 Eb7|Am7 D7 Abm Db7|Cm7 Am7|

    Dizzy Gillespie |Bm7 E7 Bbm7 Eb7|Am7 E7 Abm7 Eb7b5|

    JAZZ TRUMPET TRANSCRIPTIONS Jacques Gilbert
    That's a cool site. In Bunny's chart note that F|M7 apparently means F#min7. It's an odd notation that threw me at first. Of course it also must be transposed a whole step down to be in concert key.

  49. #48

    User Info Menu

    So far I have found the changes in the iReal app to be a pretty good compromise out of the alternatives, for most tunes. I have got the old Real Books, the new Hal Leonard real books, and the 'PocketChanges' book, and I usually end up going back to the iReal after checking all of them.

  50. #49

    User Info Menu

    Quote Originally Posted by ragman1 View Post
    Well, that's why I'm saying it might not matter that much :-)
    Reharms - well depends on where you are coming from really. For example, you might choose a set of changes that are much more chromatic or modal, but fit the melody - sort of melody down.

    Or you might be using a reharm that goes from the chords out, with the melody possibly changed - such as Coltrane's Body and Soul.

    In these two cases, you would normally expect a chart, but in fact you have quite a lot of freedom to do stuff like this if you are playing with just bass and no piano. In fact if the horn player was just playing the melody pretty straight you could play it with them... But I think you'd have to know them quite well haha.

    Or you might be (as I think is most common) taking the vanilla changes and building stuff on that

    Now a thought about the vanilla changes - the vanilla blowing changes are not always the same as the original. Often with the original sheet music changes there are details that get simplified or abstracted in favour of something more streamlined for blowing. That's what I think we are hearing with the Bunny Berrigan changes - the early slightly more complex version (based on an arrangement for big band) in contrast to the simpler changes on some of the later recordings, or the be-boppy ii-V's that Clifford uses.

    This happened a lot, BTW - quite a few jazz blowing vehicles like Softly and Alone Together originally had more complex changes than the one's we use now.

    Er, isn't that what's led to all this confusion??!
    To me the more you know and the more you can hear the less confusion there is. Instead of being in a situation playing wiht a new rhythm section and thinking 'why do my chords sound awful' you can hear that they are using Bleeding Gum Murphy's changes from 1952 and change it up accordingly. Or be a dick and insist they are playing the wrong changes.

    As a player I tend to see the melody as all important in the head, keep my chords as vanilla as possible when comping - unless I can hear clearly the harmony that soloist is playing, and for my own solos, do what I like.

    Which one? There are 101 versions on YouTube! The first two are doing E7 Am Dm G9 or something like that. Nothing very clever.
    I think that's probably what I would go for as a default. I called this tune on a gig last night (with a really traddy Sousa player) and the chromatic ii-V's didn't fit, so I went with that and it sounded good.

    Anyway, in a sense of clearing through the thicket of recordings, the jazzstandards.com listings are pretty helpful:
    Jazz Standards Songs and Instrumentals (I Can't Get Started (with You))

    Eh? Mine all start from the chorus.
    From bar 1 of the chorus? So Joe's harmony of the tune starts on the m7b5? Probably easiest if I just listen to the track.

    No, I did! I did that first vid before I even looked at any of this. When I saw E7-Am-D7-G7 I thought 'Ah, Bm-Am so I put in the Bbm and it became Bm-Bbm-Am-Ab7-G7. Honest :-) (But I didn't use it - too many chords at that speed).

    That sounds like a legit claim to me.

    Anyway, can't hang around chatting with you all day. Some of us have got lush ballads to work out!
    Last edited by christianm77; 12-03-2016 at 07:21 AM.

  51. #50

    User Info Menu

    OK guys, here's a prelim bash at a solo version. I don't recapitulate the tune at the end on this one, but I've found some what I think are nice little reharm things. I tried to get a bit clever on the improv bit, which is always a mistake.. Ah well work in progress (that'll be on my gravestone)

    More importantly, this is a recording of the ES175 I bought from Craig (55bar) through my Princeton Reverb...

    Dropbox - I Can't Get Started final.m4a