The Jazz Guitar Chord Dictionary
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  1. #26

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    I think he just wanted something discordant at the start. What better over a M7 than the #11, b2, and random augmented triads :-)

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  3. #27

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    Quote Originally Posted by Cunamara
    And just stop for a moment to ponder the musical skills and ears that Bud Powell possessed to be able to generate this. Amazing. This encapsulates an awful lot of what top-level jazz harmonic thinking is in just two bars. Ed Bickert's chords do stuff like this too. You can squeeze the juice out of these for weeks.

    One can think of Bud's chords as subs plus tensions for the chords one finds in the Real Book and elsewhere. Bbmaj7 is an easy sub for Gmin7, it's a direct relative major substitution. Gbmaj7 is maybe a less simple sub for Amin7 (Amin7 -> Cma7 for a relative major substitution, then a tritone substitution for Cma7 leading to the Gb chord- but with the large rather than small 7 which is located in the left hand line rather than the right hand chord).
    He is great of course.

    But this intro chords are not compex in my opinio... good musical imagination.

    Jazz harmonies in my opinion in general are audibly much simpler than they are described usually.

    As I said above -
    left hand is two arpegiatted flattened major triads plus 2 in each - and right hand is all diatonic.
    It is important to look at texture too and rythm - what falls on weak and strong beats

    I even think that his playing is very straightwardly classical here.

  4. #28

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    Quote Originally Posted by Jonah
    and right hand is all diatonic.
    To F major? It's not. And I'm not even going to bother with the second line!

    Analyze this Bud Powell (Autumn in New York)-jpg

  5. #29

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    It's not related to key (at least as a fragment)...

    striclty speaking it is natural against flat..

    But also sort of anachronistic thing... natural is C major, B flat and E flat are flat ... A# and F# are sharps...

    In that sense C natural is diatonic ... all falt and all sharp becomes chromatic.. it is a second level of opposition

    His thinking here is that kind of thing... anachronistic and emblematic: literally black and white keys of piano... very pianistic solution and playing

  6. #30

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    Slash chords. Specifically, using common consonant "shapes" in the right hand along with an "unusual" bass note for new sounds that can't really be named because they are their own thing. As for the origin, maybe he was listening or studying something with these sounds... not sure.
    -B

  7. #31

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    These chords are, surprisingly, playable, more or less, on guitar.

    x12200. x53500 (needs a low Gb, which I can't reach).

    And, the bass line sounds good with it. But, the chord name is incomplete. Sounds phrygian.

    The first chord looks a lot like Esus/Bb.

    I don't know how to analyze it.