The Jazz Guitar Chord Dictionary
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  1. #1

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    Based on the piano voicings for Aebersold vol 41 I've tried to write something playable on guitar for the same bit. Hope this is useful. It's still a tricky one for me at least.

    One thing that facinates me with the comping on this recording is the melodic patterns that are created by the voicings chosen. Interesting example imho.

    BTW: The chords indicated is the chords that you will find in a real book (these are from Aebersold). The voicings that the comper on this recording is using is loosely based on these chords. I have not attempted to notate the actual chords and voicings actually played.

    I'll try to include a bit of analysis of what's happening later.

    Enjoy.
    Last edited by gersdal; 06-02-2010 at 10:08 AM.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    nice.

    i love close voicings, they're totally worth the left hand effort. Looks to be a lot of nice ones here, I'll be testing them out tonight.

  4. #3

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    Quote Originally Posted by mr. beaumont
    nice.

    i love close voicings, they're totally worth the left hand effort. Looks to be a lot of nice ones here, I'll be testing them out tonight.
    Thanks. There was some choices that had to be made from the piano voicings, and priority could have been made to allow for more close voicings. Maybe I should have been more consistent

    Comments are welcome The original can as indicated be heard on Aebersold vol 41, but then on piano and with large voicings.

  5. #4

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    Quote Originally Posted by gersdal
    Based on the piano voicings for Aebersold vol 41 I've tried to write something playable on guitar for the same bit. Hope this is useful. It's still a tricky one for me at least.

    I'll try to include a bit of analysis of what's happening later.

    Enjoy.
    It feels a little uncommon (to me) with Bb7#4, is there a special reason for writing the chord like that?

    /R

  6. #5

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    Quote Originally Posted by GuitaRoland
    It feels a little uncommon (to me) with Bb7#4, is there a special reason for writing the chord like that?

    /R
    Bb7#11 would probably be more theoretically correct, but I guess I used the chords as they appear in Aebersold. I'll check when I get home to my Aebersold books. Could be a typo from my side also

  7. #6

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    Quote Originally Posted by gersdal
    Bb7#11 would probably be more theoretically correct, but I guess I used the chords as they appear in Aebersold. I'll check when I get home to my Aebersold books. Could be a typo from my side also
    Wouldn't Bb7b5 be the same chord and a more common way to write it?

    /R

  8. #7

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    Quote Originally Posted by GuitaRoland
    Wouldn't Bb7b5 be the same chord and a more common way to write it?

    /R
    In this case that could be true, however the 5th could be there also and then imho #11 is good. I've seen Cmaj7#11 written as Cmaj7b5, but mostly as Cmaj7#11. I'm not sure what's the preferred notation for a dominant 7 chord with both the 5th and #11 (or #4).

  9. #8

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    A Bb7 b5 is not the same as a Bb7 #11.

    Bb D Fb Ab = Bb7b5
    Bb D F Ab E = Bb7 # 11

    When you invert the Bb7b5 to it's second inversion you get E7b5 ( E G# Bb D) It's the same chord .

    When you invert Bb7#11 using the tritone as the root you get E7b9b5. It doesn't invert to be the same chord.

  10. #9

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    Quote Originally Posted by JohnW400
    A Bb7 b5 is not the same as a Bb7 #11.

    Bb D Fb Ab = Bb7b5
    Bb D F Ab E = Bb7 # 11

    When you invert the Bb7b5 to it's second inversion you get E7b5 ( E G# Bb D) It's the same chord .

    When you invert Bb7#11 using the tritone as the root you get E7b9b5. It doesn't invert to be the same chord.
    Boom my brain is frying! Haha didn't realize that.

  11. #10

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    What's the second chord in "Take the A Train" D7b5 or D7(add #11)?

    Cmaj7 D?? Dmin7 G7 CMaj7

    EDIT: my feeling is that for older stylings (like A Train), it's 7b5 in more modern tunes, it's more likely to be 7(add #11). [But just searching for example of the changes to A Train, I found a page where someone explicitly pointed out it's not a 7b5 chord. ]


    When in doubt: listen to the bass! Does (or would/should/...) the bass play a nat5? If so, that's a 7(add #11) in my book.
    Last edited by BigDaddyLoveHandles; 06-02-2010 at 12:30 PM.

  12. #11

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    Quote Originally Posted by BigDaddyLoveHandles
    What's the second chord in "Take the A Train" D7b5 or D7(add #11)?
    What? Alone together on the a trane No, that's not the tune this thread is about. Never heard about it.
    Quote Originally Posted by BigDaddyLoveHandles
    When in doubt: listen to the bass! Does (or would/should/...) the bass play a nat5? If so, that's a 7(add #11) in my book.
    Good point.
    Last edited by gersdal; 06-02-2010 at 04:26 PM.

  13. #12

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    Its not b5... it's #11... from 4th degree of Melodic Min., and most of the time it's b13, not #5...were talking about Dom. Chords. We use incorrect spelling because, 1) we don't understand harmony, 2) were use to seeing it spelled that way because most music programs, keyboards and fake books use incorrect spelling because they use; "Standard Chord Symbol Notation" by Carl Brant and Clinton Roemer, from the mid 70's, which has a few mistakes but was the best standard to pull from at the time... which has turned into a snow ball... Don't believe everything you see or read... don't be told.. figure it out, do the research yourself. The worlds not flat...Best Reg

  14. #13

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    Very nice guitar voicings gersdal... would you use those to comp with in ensemble setting? Don't worry about Aebersdal notational mistakes, there very common... changes are actually wrong sometimes, still great material to practice with... Best Reg

  15. #14

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    Quote Originally Posted by Reg
    Very nice guitar voicings gersdal... would you use those to comp with in ensemble setting? Best Reg
    Well, it's my interpretation of what the piano is doing on the Aebersold recording. It's a quite busy comping arrangement imho, but it sounds good on the CD. I would probably do something a bit less busy, but that could be due to my technical abilities and getting something like this to flow in a good way. I find it interesting to learn how pianists comp, and not only guitarists. Hence, this is good for practice at least.

    In a trio + solo instrument I could consider to comp something like this, but the comping should off course ideally be improvised - and follow the soloist, so I wouldn’t write down a comp and follow that strictly. For a study in what are possible solutions, a study like this is interesting.

    So, final answer to your question would probably be: Yes, I could use voicings like this to comp in ensemble setting, but not strictly as written I wouldn't mind advice on better approaches for comping, tho...

  16. #15

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    Quote Originally Posted by Reg
    Its not b5... it's #11... from 4th degree of Melodic Min
    Thanks. I hear it now:

    Take the A Train:
    CMaj7 D7(add #11) Dmin7 G7 CMaj7

    The D7(add #11) is merely paying a visit from C major's relative minor (A jazz minor). The D altered scale would sound too "out" over that chord, but sometimes I can't resist using the D whole tone scale.

  17. #16

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    D whole tone? You fauv!

    Ab mixolydian...no wait, that's thinking modes over a swing tune...ARRRRGGGGHHHH!

    actually, if you think about it, whole tone ain't a bad choice...just watch that raised fifth that sneaks in there...
    Last edited by mr. beaumont; 06-03-2010 at 01:56 PM.

  18. #17

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    Thanks...Mr B.... had to get a raised 5th in... yea there are a few... Double Harmonic, diminished and other symmetric, synthetic and theoretical scales, but for most jazz tunes it's b13 from the standard choices... Anything can work if you set it up etc... Reg