The Jazz Guitar Chord Dictionary
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  1. #26

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    Quote Originally Posted by docsteve
    What is this thing called love?

    Although it‘s not really minor, it changes all the time.
    I'd call that close, but no ceegar. What is this thing called love? alternates 251's in Fm and Cmaj.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    Quote Originally Posted by Fra88
    Hi everybody,

    i would like to know how many type of chord i can use to end a minor tune.

    For example if i play a tune in C minor, can i use a tritone chord with the major seventh and sharp eleventh(F#maj7#11)? Pat Metheny use this alternative sometimes..
    Django did this at times even when working in major keys (e.g. in C major he might use some form of F#major as an end chord). Certainly wakes the listener up.

    Re Picardy...I have heard Monk's tune "Round Midsection" use a Picardy third at the end of the A part and in some versions they end on it. A noir-ish tune with these bright endings...

  4. #28

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    Or just play Cm, of course

  5. #29

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    Quote Originally Posted by BigDaddyLoveHandles
    Youtube link?

    Lately, I've been watching videos on Bill Evans, and I'm starting to think guitarists are too conservative in their chord choices.

    nice ending chord on Blue in Green...Dmi6/9

    D F B E ( G13/D) 5 3 4 5

  6. #30

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    Quote Originally Posted by BigDaddyLoveHandles
    Why not? Religious objections, union rules?

    .
    .
    .
    .

    I keed, I keed! You could drop the treble A. If you want an A on top:

    A minor (add 2): x09555
    Easier to play that chord as x02505

  7. #31

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    Quote Originally Posted by Fra88
    Hi everybody,

    i would like to know how many type of chord i can use to end a minor tune.

    For example if i play a tune in C minor, can i use a tritone chord with the major seventh and sharp eleventh(F#maj7#11)? Pat Metheny use this alternative sometimes..
    I wrote a tune a bit like that, C minor blues with an F#maj7#11 chord in bar 11... Works like this (last 4)]

    Normally
    | Ab7 | G7 | Cm | % |

    And I have
    | Ab7#11 | G7b9sus4 | F#maj7#11 | F7#11 |

    If I knew it was a Metheny thing I wouldn't have done it lol. But seriously I wrote it to have a bit of a Brecker Tales of the Hudson vibe, so maybe that's why.

    Anyway, it'll be on my forthcoming record....

    So... my pathetically obvious ending chord of choice in minor is the last one in that example - the IV7#11. Last refuge of the scoundrel. Always works though...

  8. #32

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    Beyond that, you can do anything so long as it works with the melody note. Most standards melodies end on the tonic (I), so you can use any of these:

    I6
    Im6
    bVImaj7
    bVI7(#11)
    bIImaj7
    bIIm(maj7)
    IV7(#11)
    and so on....

    #IVmaj7#11 will also work...
    melody note = C
    F#maj7#11 = F# A# C# E# (G#) B# (or C in English!)

    Imaj7 or Im(maj7) is considered a poor choice in traditional arranging because of the clash between seventh and tonic. However, many modern players ignore this restriction, embracing the clash. Jonathon Kreisberg for instance.