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  1. #1

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    I found this by Adam Neely. I like Adam Neely. See how far you can go...


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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    To be honest I thought most of the examples beyond level 2 sounded pretty bad. I think this is because the chords were written over the range of the melody...

    I’ve see videos like this by Adam before where it’s sounded a lot better. Maybe a poor choice of song?

  4. #3

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    I suspect his primary goal was to show the possibilities of reharmonizations, perhaps a bit at the cost of sounding good... often a pitfall when approaching music solely from theory....
    Jazz, Funk, Soul & Boogaloo: My group | Listen to Hip Jazz a Go Go! | Jazz, Soul, Blues: Eva La Voix

  5. #4

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    This video seems to me basically a remake of this one:


  6. #5
    I was wondering why he chose a pop song (in both vids) to demonstrate jazz harmony.

  7. #6

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    Quote Originally Posted by ragman1 View Post
    I was wondering why he chose a pop song (in both vids) to demonstrate jazz harmony.
    He just likes pop songs I think. Also, he makes the point that standards were originally pop songs too.

    That said, I think melodies tend to be less 'free standing' than in the mid 20th century. Neely's got a good ear for this though.

  8. #7

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    Quote Originally Posted by christianm77 View Post
    He just likes pop songs I think. Also, he makes the point that standards were originally pop songs too.

    That said, I think melodies tend to be less 'free standing' than in the mid 20th century. Neely's got a good ear for this though.
    What do you mean by "free standing"? E.g. melody notes are detached from the harmonic structure?

    Thanks

  9. #8

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    Quote Originally Posted by jameslovestal View Post
    What do you mean by "free standing"? E.g. melody notes are detached from the harmonic structure?

    Thanks
    Melodies that have a strong identity outside of the arrangement, harmony, groove, production, sound design, whatever that they are clothed with.

    If you can sing a song Acapella all the way through and it remains complete in itself. It’s a structure you can drape other shit on.

    Such melodies do exist in modern day pop, and even in contemporary jazz (although rarer) but the GASB composers were kind of badasses at them.

  10. #9
    he makes the point that standards were originally pop songs too.
    Irrelevant semantics (his, not yours). Then he should call it just harmony, not jazz harmony.

    That said, I think melodies tend to be less 'free standing' than in the mid 20th century. Neely's got a good ear for this though.
    There are lots of jazz tunes which are free-standing. They don't have to be old show tunes. How about Take Five?

  11. #10
    But we're not answering how far we got up the 7 steps... :-)

  12. #11

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    If you can sing a song Acapella all the way through and it remains complete in itself. It’s a structure you can drape other shit on.
    this quality is very contextual... to percieve it the listner/player should belong to repective musical culture/language

  13. #12

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    I’m at a loss to understand what about music isn’t contextual you naughty Platonist, you.

  14. #13

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    Quote Originally Posted by christianm77 View Post
    I’m at a loss to understand what about music isn’t contextual you naughty Platonist, you.
    Today when Aristotelians are everywhere, especially among jazz guitar fundamentalist, we always must be as precise as the forum rules allow us to be.

  15. #14

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    First the good: Adam really invested fair amount of work to create the video.
    Especially the level 7, which is interesting comparision (even it is not applicable in a gig)
    I really enjoyed it, I think worth the time.

    Now the bad:

    Level 0: He states the song is fine. No way. Listening this song is so painfull for me, I would like to instantly run away, or make a loud noise just not to listen anymore, please stop it!

    Level 1: Minor tonality is not minor7 in jazz. (actually nowhere). It could be minor triad, or minor6. Of course this could clash the C in the “melody”, but we already know about the “melody”. Shallow choice strikes back in the first steps.
    Level 2: B7 tritone sub sounds like a slap on the face there, at least with the basic dominant7. Voice leading also painful at this point.
    Level 3 is not jazz at all. More like end of 19 century early 20th century post romantic, or modernist. Interestingly he mentions this era, but in Level 6...

    Level 7 is really interesting to hear. But wait... Obviously not the pianist will change from well tempered to the real harmonic pitch, instead the solist... which is the more common thing not only in jazz, but classicsl singers, solo violinist often do that. Trumpet or sax players use pitch alterations deliberately way more creative way, but it has nothing to do with harmony.


    So I do not understand how this shifted pitch harmonization related to Miles in general, naming the recording/tune really would be useful... well Bill Evans Red Garlands piano notes are randomly de tuned +-10 cents, so there is an 8th level, which is the coolest, the only restriction that Bill Evans is unevitable the get there...

  16. #15
    Does anyone know of any jazz musos who rise to level 7 (whatever that is!)? I don't think Miles or Bill Evans did.

  17. #16

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    I'm a level 4 jazz dungeonmaster.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  18. #17
    I'd noticed, any old excuse to bong on those open strings :-)

    You do yourself down, I've seen you do Level 5 (non-functional harmony). With ease, too.

  19. #18

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    Quote Originally Posted by christianm77 View Post
    To be honest I thought most of the examples beyond level 2 sounded pretty bad. I think this is because the chords were written over the range of the melody...

    I’ve see videos like this by Adam before where it’s sounded a lot better. Maybe a poor choice of song?
    The voice leading is pretty bad I noticed in level 3. The tension notes don't resolve where they "should". Which can be cool, but I think with it over the melody its kind of jarring to me