Help to understand a Django Reinhardt ( Am7 arp over d7)

[Christian Miller]

As Christian Miller hinted above,
Best guitarists were Objectivists.

I don't know what that means. If you mean, the best guitarists are excellent practical musicians rather than theorists, I would agree.

You only have so many years, you know...

[pauln]

[Mick-7]

I've another one if anyone wants to help out...

Bar 48 of the same vid, he's on the G7 moving to a resolution back to C.

Notes played are:
Eb, Gb, A, B, C,D, E ( hits this E on bar 1 of the C chord).

How would you rationalize this one? The ABCDE bit I'm interpreting as a simple scale run to hit the E in time for nice harmony with the C chord. ( E is the 3rd of C of course.)

But the Eb and Gb, why pick these notes? They don't match with anything I know at the moment about picking notes go go over a 7 chord.

He forgot the changes, thought it was a B7(b9) chord (D#-F#-A-B-C).

[Christian Miller]

I’m still not quite getting it

Sorry if this is a joke you’re having to explain


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[pauln]

Ayn Rand
Objectivism "A is A"
Existence is Identity,
Consciousness is Identification.
Also pianist.

"The fundamental difference between music and the other arts lies in the fact that music is experienced as if it reversed man's normal psycho-epistemological process.
The other arts create a physical object (i.e., an object perceived by man's senses, be it a book or a painting) and the psycho-epistemological process goes from the perception of the object to the conceptual grasp of its meaning, to an appraisal in terms of one's basic values, to a consequent emotion. The pattern is: from perception—to conceptual understanding—to appraisal—to emotion.
The pattern of the process involved in music is: from perception—to emotion—to appraisal—to conceptual understanding.
Music is experienced as if it had the power to reach man's emotions directly."

[wolflen]

He forgot the changes, thought it was a B7(b9) chord (D#-F#-A-B-C).

yes..depending on the context of course..it could be a partial diminished approach ( D7b9/Cdim - G7- C)

[garybaldy]

Many thanks for all the replies, slight correction on what I said in the first post, the lick in question is not Amin7 but to me just a straight Aminor based thing... anyway from all the replies I'm comfortable with this now and have got to grips with this one.

I've another one if anyone wants to help out...

Bar 48 of the same vid, he's on the G7 moving to a resolution back to C.

Notes played are:
Eb, Gb, A, B, C,D, E ( hits this E on bar 1 of the C chord).

How would you rationalize this one? The ABCDE bit I'm interpreting as a simple scale run to hit the E in time for nice harmony with the C chord. ( E is the 3rd of C of course.)

But the Eb and Gb, why pick these notes? They don't match with anything I know at the moment about picking notes go go over a 7 chord.

Thanks for any constructive help, it really is appreciated.

(If you feel the need to flex and tell me this is some kind of fundamental/elementary thing as opposed to actually engaging with my curiosity.... if it boosts your ego then why not).

Bars 47, 48 and 49 could be considered as Dm7/// Ab7/G7/ C/// (the 3 notes, C Eb Gb, of the first 2 beats of bar 48 are part of an Ab7).

[Christian Miller]

In bars 47-49 he’s very obviously outlining Dm7 Ebo7 C over the vanilla Dm7 G7 C. I like this one a lot for an old school sound.

One common old school jazz prog for another - and a different way to get from A to B. People have been making passing chord subs like this since the early days

There’s no vertical relationship between the G7 and Ebo7. They are just two different passing chords and the dissonance is sort of the point.

A good way to analyse sort of thing is to look at what the soloist is outlining in isolation, then look at the original song chords and see what the relationship is between them.

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[garybaldy]

In bars 47-49 he’s very obviously outlining Dm7 Ebo7 C over the vanilla Dm7 G7 C. I like this one a lot for an old school sound.

One common old school jazz prog for another - and a different way to get from A to B. People have been making passing chord subs like this since the early days

There’s no vertical relationship between the G7 and Ebo7. They are just two different passing chords and the dissonance is sort of the point.

A good way to analyse sort of thing is to look at what the soloist is outlining in isolation, then look at the original song chords and see what the relationship is between them.

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Ofcourse, I do it all the time - The Basie ending, Bars 6 to 7 in a blues etc,etc.
Also 'similar' to VII7 to I.

[Christian Miller]

Ofcourse, I do it all the time - The Basie ending, Bars 6 to 7 in a blues etc,etc.
Also 'similar' to VII7 to I.

Yeah the Basie thing.

Super parsimonious voice leading

D F A C
Eb Gb A C
E G A C


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[RLetson]

At the risk of derailment--Does Ayn Rand include, say, acting and dance in her analysis? I also have doubts about her neurological model.

[Mick-7]

At the risk of derailment--Does Ayn Rand include, say, acting and dance in her analysis? I also have doubts about her neurological model.

It's a Nietzschean, very egocentric philosophy, the kind of thing to which someone like Elon Musk would subscribe. Adolescent really, but some people never mature psychologically beyond adolescence.

[wolflen]

Adolescent really, but some people never mature psychologically beyond adolescence.

Sad to say..but in our society adolescence is all that is required in many life demands..and in many of those..it is highly encouraged and goal setting.

[wolflen]

[QUOTE=Christian Miller;1441567]

Super parsimonious voice leading/QUOTE]


Nicolas Slonimsky would be proud !!

[Mick-7]

[QUOTE=Christian Miller;1441567]Super parsimonious voice leading/QUOTE]

Nicolas Slonimsky would be proud !!

Much too concise.... maybe super parsimonious symmetrically polytonal voice leading.