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  1. #1

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    Thank You!
    Last edited by kaguns; 06-09-2020 at 01:09 PM.

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    I C Am7 Gm7 C7 I Fm7b5 B7 Em7 A7 I Dm7 G7 CMaj7 A7 I Fm6/Ab G7 C I

    I CMaj7/G A7b9/G Dm7/G G7b9 I CMaj7/G A7b9/G D7/G G7b9 I Em/D A7/C# Dm/C G7/B I C/Bb A7 Fm6/Ab G7 I

    I F#m7b5 Fm6 Em7 Eb7 I Dm7 Db7 Cadd9 A7 I Dm7 G7 Bb7 A7 I Ab7 G7 C I
    It's hard to read. Can you write it out four bars to a line?

    I've sort of done it according to your bar lines.

    C - Am7 - Gm7 - C7
    Fm7b5 - B7 - Em7 - A7
    Dm7 - G7 - CM7 - A7
    Fm6 - G7 - C

    The orange Gm7 - C7 is a ii-V in F.

    Is that Fm7b5 supposed to be F#m7b5? If so, it's all in C except for the red bit in Em.

    The Fm6 is a familiar sub where the IV chord (F) is made a m6. The D (instead of Eb if it were Fm7) makes it more compatible with the key of C major.

    CM7 - A7b9 - Dm7 - G7b9
    CM7 - A7b9 - D7 - G7b9
    Em - A7 -Dm -G7
    C - A7 - Fm6 - G7

    Is that blue D7 supposed to be Dm7? or D7?

    Anyway, it's still all in C with a secondary dominant (A7 and possibly D7) and the IVm (iv6).

    F#m7b5 - Fm6 - Em7 - Eb7
    Dm7 - Db7 - C - A7
    Dm7 - G7 - Bb7 - A7
    Ab7 - G7 - C

    This is just a chromatic progression but still basically in C. It contains the IVm (iv6) and some tritones, secondary doms, chromatic shifts, but it's still in C.

    I wouldn't analyse it further than that. Analysing it isn't going to make it easier to play!

  4. #3

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    Nice work, Ragman!

    Kaguns,
    Welcome to the Forum (this is your first post)!
    Most chord progressions have a melody that goes along with them, and the melody can tell us what's happening harmonically. What is the song??

    Marc

  5. #4

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    Absolutely. I was going to say the melody matters too. You can tell a lot from the melody.

  6. #5
    Thank you!
    D7 is D7 in bar 6.
    How would you analyze it further?

  7. #6

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    If that’s supposed to be one chord per beat, my analysis is that it is ridiculously busy. Overall, it goes I-V-I. What more do you need to know?

  8. #7

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  9. #8

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    Quote Originally Posted by kaguns
    How would you analyze it further?
    I told you already, I wouldn't. It's not worth it. If it's D7 it's just another secondary dominant.

    What do you want to gain by analysing it? Why are you analysing it at all?

    (You didn't answer the other questions. What about the F or F#m7b5 in your bar two? And is there a melody? And, if that is one chord per beat, I agree with pcjazz , it's far too complex unless it's going very, very slowly)

    (edit)

    I do recommend you answer all the questions right away as they appear otherwise they'll build up and we'll all get hopelessly lost.
    Last edited by ragman1; 06-09-2020 at 08:53 AM.

  10. #9
    In bars 5 and 6, would you say that there is 1-6-2-5 turnaround over G bass?
    Thanks!

  11. #10

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    You mean this?

    CMaj7/G A7b9/G D7/G G7b9

    Obviously, but why is there a turnaround in the middle of the tune? *

    I'm not going to answer odd questions. Answer all of them or forget it!

    * See, now we've got another one

  12. #11

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    I C Am7 Gm7 C7 I Fm7b5 B7 Em7 A7 I Dm7 G7 CMaj7 A7 I Fm6/Ab G7 C I

    I CMaj7/G A7b9/G Dm7/G G7b9 I CMaj7/G A7b9/G D7/G G7b9 I Em/D A7/C# Dm/C G7/B I C/Bb A7 Fm6/Ab G7 I

    I F#m7b5 Fm6 Em7 Eb7 I Dm7 Db7 Cadd9 A7 I Dm7 G7 Bb7 A7 I Ab7 G7 C I

    Bunch of assorted turnarounds and cadences. All common within the standards repertoire.

  13. #12

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    C Am7 Gm7 C7 - it's a fancy way of going C C7
    F#m7b5 B7 Em7 A7 | Dm7 G7 Cmaj7 - long turnaround in C - see the last few bars of Green Dolphin Street
    Fm6/Ab G7 C | - inversion of Dm7b5 G7 C
    Do the others when I feel motivated