The Jazz Guitar Chord Dictionary
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  1. #1

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    Not sure what jazz theorists call it, but playing the 4th of a half diminished or a 4-3 in the melody seems to be a common thing in standards?

    Autumn leaves has 1-4-1 in the first bar of the bridge, for example. The climax in the bridge of Georgia is another one (although some charts have a full dim or min 7). Also bar 7 of A Child is Born

    also learned (or misremembered) in the intro jazz guitar class I took way back to move the 4-3 half dim pattern around by minor 3rds, any position could be a dominant sub. (xx4557-xx4555 to xx78810-xx7888 etc)

    but don’t see much about this in material I read today

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    yeah it’s a beautiful minor 2 chord

    i like this voicing too
    F#m7b5 11
    xx10 9 10 7
    to your B7#5#9 chord
    xx788 10

    i stole it off Ed Bickert
    Last edited by pingu; 11-19-2021 at 04:09 AM.

  4. #3

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    Is your E7alt supposed to have a D# in it?

  5. #4
    Quote Originally Posted by ragman1
    Is your E7alt supposed to have a D# in it?
    assumed he meant B7alt, which is what the shape works as (or F7)

  6. #5

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    I've always noticed that too - that the 4 is a commonly used chord tone for minor 7 and half dim chords.

  7. #6

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    To this I say, yes.

    I also like doing 4 3 on a dim7

  8. #7

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    Quote Originally Posted by BWV;[URL="[URL
    tel:1159063[/URL]"]1159063[/URL]]assumed he meant B7alt, which is what the shape works as (or F7)
    yes B7#5#9

    sorry everyone !
    I’ve edited that post

  9. #8

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    Yes. The 11th is beautiful on -7b5 chords. And diminished chords.

  10. #9

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    It I do the "reduce ii V to just V" thing and turn, say

    F#m7b5 B7

    into just

    B7

    then the 4 3 (B A) over
    F#m7b5 is simply root and b7 over B7. With standards, I wonder if this is how the song started off.

    But yes, it sound good!

  11. #10

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    Quote Originally Posted by BigDaddyLoveHandles
    It I do the "reduce ii V to just V" thing and turn, say

    F#m7b5 B7

    into just

    B7

    then the 4 3 (B A) over
    F#m7b5 is simply root and b7 over B7. With standards, I wonder if this is how the song started off.

    But yes, it sound good!
    Yeah, often. 4ths are so common on ii chords. ii-V was a big thing in the 50s, a lot of earlier standards got decorated in this way.

    A really good way to look at the ii V is that it is V7sus V7 with a different bass, V7sus4b9 V7b9 in this case. That note A-G# in this case, is what drives it. It's up to you whether you want to play
    1. the sus
    2. no sus
    3. only the sus :-)

  12. #11

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    Yea... I like using those voicings for opening MM doors... the F#-7b5 becoming a voicing for D7#11 and the B7alt. voicing becoming F7#11

    so instead of... F#-7b5 B7b13#9.... maybe going to E-9 A13...
    you open..........D9#11 F9#11................................E-9 A13

    In general I like using 11th with -7b5 voicings to camouflage the 5ths. Opens more harmonic doors, if one chooses.

    When I play jazz tunes... I like to expand changes... create chord patterns from single chords. Not just when comping, but also when soloing. It's fun for us the musicians and generally entertaining for audiences. Of course... depending on gig and musicians...

  13. #12

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    43 suspension is good on

    the ii, the V7 or the I (Stella)

    i write my 43 as part of the chord symbol:

    C7 43