The Jazz Guitar Chord Dictionary
Reply to Thread Bookmark Thread
Page 2 of 2 FirstFirst 12
Posts 26 to 38 of 38
  1. #26

    User Info Menu

    ’if it sounds good it is good’ Ellington
    And its long-forgotten sister quotation:

    'If it sounds crap, it is crap' Me.


  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #27

    User Info Menu

    Quote Originally Posted by christianm77


    Voiceleading is in this sense linear, like a dot to dot thing. It can be chromatic or involve what we might call ‘outside’ pitch choices. Or it might be diatonic and straightforward. Regardless of this, It doesn’t have anything do with the chord of the moment; it has everything to do with the chord that’ll be along in a moment, and you control the arrival of that chord by the timing of your resolution into Thing #2, not what it says on the lead sheet.
    .
    Very true! I started doing this intuitively when I figure out 'the chord tones' way of thinking. And basically anything works over dom chords as long as you resolve right, thats what matters. I dont read books, but I'm glad someone who does can confirm it lol.

    Also don't care if it sounds 'bebop' enough. Sometimes it's better if doesn't.

  4. #28

    User Info Menu

    Quote Originally Posted by Hep To The Jive
    Very true! I started doing this intuitively when I figure out 'the chord tones' way of thinking. And basically anything works over dom chords as long as you resolve right, thats what matters. I dont read books, but I'm glad someone who does can confirm it lol.

    Also don't care if it sounds 'bebop' enough. Sometimes it's better if doesn't.
    its totally bebop

  5. #29

    User Info Menu

    It boils down to continuous patterns sound good

  6. #30

    User Info Menu

    Chromatic diminished usage in blatant action at 13:20 :

    Monty Alexander Live 1976

  7. #31

    User Info Menu

    I agree. Nice one!

  8. #32

    User Info Menu

    Quote Originally Posted by pingu
    Bravo !!

    I might print that out and stick it on my wall
    I agree. Nice one Christian

  9. #33

    User Info Menu

    Quote Originally Posted by JazzinNY
    Alright, to clarify context: it's a split measure, Eb7 to F7, ending an "A" section.

    "In a Mellow Tone," from See You at the Fair. The Eb carries from previous measure, then becomes F7. And phrase sounds good over those 2, or the Eb alone.

    I should mention I had trouble getting those notes exact, but I think it's A C d Eb
    (d being a chromatic).

    1:43 of the tune.
    Sounds F# - A - C - Eb to me... as you say it starts on Eb7 and ends in F7 ... F7 here is a secondary dominant going to Bb7 (II7 in the key of the piece)

    If I had to resolve it without this particular context it would have sounded most natural into Db (melodically I mean).. the chord would be Bb-7

    But Ben does not resolve it....


    I do not know his thinking... but sounds just like he played it thinking/hearing/anticipating movement through F7 (quite common b9 idea).

    I like thinking more about the character of the line - its expression... this is what i try to learn from.

    here it is powerful dominant lick without immidiate resolution - climbing up and interrupted at its highest point...

    of course we can hear this interruption because resolution to Bb7 (or Bbm7) is presumed and anticipated (our (and Ben's) culticated hearing works here)but it does not happen

    also note the rhythm it is played in -
    it is sort of half-note triplets... which increases that expression of climbing up the peak and ...

    I guess this is what we can learn from such things to add meanings intp our scope of artistic tools

  10. #34

    User Info Menu

    I think he forgot about the Eb7. But I also think, listening to it, that it doesn't matter. It's not a great clash at all. Fuss about nothing, really.

    Actually, I think a lot of that solo isn't strictly on-chord. But there you are.

    Poor guy, every note he plays ripped apart and micro-analysed. Who'd be famous?

    By the way, no one's posted it yet.

    Last edited by ragman1; 12-28-2020 at 06:48 AM.

  11. #35
    I actually think it's pretty cool that, years after he's gone, people are giving so much attention to 4 notes he played one night in a studio.

    And Ragman, I think you misread my posts. I don't see his playing as any kind of mistake. I just found it interesting.

    (Thanks for posting the link)

  12. #36

    User Info Menu

    JazzinNY -

    Any diminished arp works over a Dominant


    No, I didn't misread them, I thought your point was the in the thread title. But the discussion wandered a bit...

    But I'm tempted to post another Soundcloud thing where I'm deliberately playing the 'wrong' dims over dom chords. It sounds awful to my ears - well, it IS awful, no question about it - regardless of what the theorists say. Maybe if you popped one into a fast bebop tune it might sound out and cool but, as a rule, I'd say no. And I think you meant it as a sort of rule.

    Here we are, lots of dominants. The first time I turned all of them into 7b9's and it works. The second... well :-)

    C - % - E7 - %
    A7 - % - Dm - %
    E7 - % - Am - %
    D7 - % - Dm - G7



    To be fair, the very last one over the G7 before the tonic CM7 sounds okay because it'll take an altered sound there. But the others, not for me.

  13. #37

    User Info Menu

    Quote Originally Posted by christianm77

    It doesn’t have anything do with the chord of the moment; it has everything to do with the chord that’ll be along in a moment.
    Yes, that's the bee's knees right there!

  14. #38

    User Info Menu

    Quote Originally Posted by christianm77
    I think why I don’t like Dbo7 into Cmaj7 is because of the third and fifth being common tones?

    But given my continuing war on 3rds, maybe I might revisit it.
    Co-incidentally I watched this YT clip prior to reading your post. I posted a comment regarding a chord progression at 4.06 using the above chords. I'm glad I'm not the only one!