The Jazz Guitar Chord Dictionary
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  1. #126

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    oooh the slashes are bass notes, i thought they were bar lines

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    The Jazz Guitar Chord Dictionary
     
  3. #127

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    Quote Originally Posted by christianm77

    So you have learnt we can make this sub

    Bbo7 becomes Em7b5 A7b9 in Bb

    Or

    Io7 becomes #VIm7b5 VII7b9
    should that be #IV7b5 Christian ?

    Pingu

  4. #128

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    Actually I think you’ll find it’s #IV MINOR 7b5 ;-)

  5. #129

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    Quote Originally Posted by grahambop
    Yes interesting to read about Victor Young (composed Stella), in his youth he studied piano and violin in Warsaw and Paris.

    Victor Young - Wikipedia
    Thanks, Graham. See Christian, he did compose five musicals, in addition to the many films he did.
    I deserve at least half credit on that one, if not full credit!

  6. #130

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    Quote Originally Posted by christianm77
    The thought had crossed my mind. But does he need to be such a ....... oh hang on.....
    I actually met Dick Hyman when I was a kid. He was playing in an All-Star Band at a jazz festival. I was in an All-Kid Band at the same festival. He did indeed strike me as a mean guy when I went up to him. He said,"Well, what do you want?" I felt like taking off right then and there, but I got up the courage to say, "I've got a Tal Farlow record from 1959 that you played on."
    He thought for a second, and then actually smiled!"Why, yes. I remember that record. It was a long time ago."
    I boldly replied, "Yeah..."
    BTW, which change does DH advise us to use for the first chord of Stella (if that's in the book- I haven't read it in a long time)?

  7. #131

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    Quote Originally Posted by sgcim
    I actually met Dick Hyman when I was a kid. He was playing in an All-Star Band at a jazz festival. I was in an All-Kid Band at the same festival. He did indeed strike me as a mean guy when I went up to him. He said,"Well, what do you want?" I felt like taking off right then and there, but I got up the courage to say, "I've got a Tal Farlow record from 1959 that you played on."
    He thought for a second, and then actually smiled!"Why, yes. I remember that record. It was a long time ago."
    I boldly replied, "Yeah..."
    BTW, which change does DH advise us to use for the first chord of Stella (if that's in the book- I haven't read it in a long time)?
    It's not in there.... DAMMIT!

    I reckon he's a Bbo7 guy. But the Em7b5 A7 would be in red above....

  8. #132

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    I'd like to hear that Tal record, Hyman is a monster on piano.

  9. #133

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    Quote Originally Posted by christianm77
    I'd like to hear that Tal record, Hyman is a monster on piano.
    A bit hard to track down, but I think this might be from that session according to this discography: Tal Farlow Discography


  10. #134

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    Yep, that's it.

  11. #135

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    I just did a video about Stella


  12. #136

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    Quote Originally Posted by christianm77
    I just did a video about Stella

    Thanks Christian, just what this thread needs, a side by side comparison of the original changes and one of the "modern interpretations" together with professional explanation and comments. Brilliant!

  13. #137

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    Quote Originally Posted by joe2758
    Attachment 59822
    Here's the right way (minus a few minor changes, literally). Tongue in cheek. but this is what i like
    That's exactly the same Ned Washington Fake book chart (resembling Mile's changes) that we used back in the days and which I didn't fancy (because I didn't have a reference). Today I can appreciate that it has advantages from a perspective of simplicity and improvisation, but it differs from my perspective of the song. Possibly because things got lost (intentionally or not) in Miles re-harmonization. I note that Christians Reel book reference above is slightly different.

  14. #138

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    Melody notes become part of the harmony (like it or not), which is evident when played on the same instrument (e.g chord melody). From a perspective of notation, reading, inverting, improvising and orchestration etc it's generally preferred to exclude the melody note from the chord symbol. But when writing, arranging, re-harmonizing etc it could be rewarding to view the melody as an integral part of the Harmony. It could sometimes radically change the picture of the song and how we approach it.

    -What's beneath the surface of the original version?
    "The dim-scale is the song"...don't know...I still don't see it that way. I don't question the authority of P. Bernstein or any member here, just want to dissect the song.

    We have already concluded that each time the opening melody notes appear "Ta-Da"...it's over various dim7 chords (That we may substitute for m7/-5 on our sole discretion). -But then what?

    The 2nd chord is an A7 of sort. No problem, Miles agrees.
    In the third bar the melody note F is raised one octave and the resulting harmony becomes a loud and clear C7sus4. Hmmm. The 3rd is omitted! Oh my... Miles says minor. It's all right since sevenths on suspended chords are virtually always minor sevenths. -But why not just call it C7sus4?

    Try this for fun: Play the melody without alterations over the following chord progression
    E7sus4, A7sus4, C7sus4, F7sus4, F7sus4, Bb7sus4, EbMaj7
    A very open sound, no drama. In a way it feels like major (there are no 3rds). Technically a 7sus4 chord is often viewed as minor chord (because the 4th would clash with a major 3rd), but it doesn't sound like minor. (Note: This is not the changes I play, just a way of looking at what's going on. A long series of suspensions that resolves in a Maj7)

    Where's the 3rd in a dim7-chord? It's all over the place. So why not just let it go? It depends on the level of tension and "aching dissonance" that we like to create.

    Now try this progression E7sus4-A7sus4-DMaj7. Play melody notes ("Ta-Da"); Bb-A over E7sus4 and D-C# over DMaj7
    This is a way of looking at the transition from the first chorus to the second chorus (Harmonica lead).
    A bit cheesy perhaps. No aching dissonances, just some suspensions that resolves in a sweet Maj7. No drama at all. But we can create tension and drama if we want to, by for example playing Ddim7 in the beginning of the second chorus (like Victor Young wrote it) instead of that romantic DMaj7.

    No aching dissonances, no drama, (no fun?) but perhaps easier to understand. At least a different outlook.

  15. #139

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    Also I put in the extensions to reflect the melody. The Real Book seems quite inconsistent in doing this to me....