| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 2851.1 | another one | RANGER::WEBER | | Wed Nov 10 1993 12:51 | 13 |
| As I had mentioned in the other note, alternate jazz changes are often
built on IIm7-V7 and cycle of fifths substitutions, but there are many
other possibilities. For a blues tune, the trick is to imply or state
the tonic, subdominant and dominant key centers at the appropriate
times.
(all chords voiced with root in bass) (: : denotes bar lines)
F6 F7: Bb6 Bdim7: F6 Am7: Cm7 F7: Bb13 Bb7: Bb7-5 Bb7 :
F Gm7 : Am7 D7: Gm7 Am7 : Bb6 C13 C7-5: F6 F7 Bb6 Bdim7: F6 C7
Danny W.
|
| 2851.2 | Jazz-blues in Bb | PAVONE::TURNER | | Thu Nov 11 1993 05:11 | 19 |
|
Here's another one (in Bb), though somewhat simpler than -1.
//// //// //// // //
Bb7 Eb7 Bb7 Fm7 Bb7
//// //// //// ////
Eb7 Eb7 Bb7 G7b9
//// //// // // // //
Cm7 F7 Bb7 G7b9 Cm7 F7
Come to think of it, it bears a rather strong similarity to the one in
the base note (jazz-blues plagiarism?!)
Dom
P.S. Does anyone else find those temporary key changes (the Vm7 chords
in the fourth bar) sound a little uncomfortable?
Dom
|
| 2851.3 | | TECRUS::ROST | Marcel Marceau's voice coach | Thu Nov 11 1993 06:29 | 15 |
| Re: .2
>P.S. Does anyone else find those temporary key changes (the Vm7 chords
>in the fourth bar) sound a little uncomfortable?
Not really...in the bass line it's almost a wash because the notes F,
Ab, C, Eb all play OK against the Bb7 chord as well.
Bb7 = Bb D F Ab
Fm7 = F Ab C Eb this is sort of like a Bb9/11 minus the root and third
It's just a 2-5-1 heading into the Eb7 in bar five.
Brian
|
| 2851.4 | couldn't resist | SSDEVO::LAMBERT | I made life easy just by laughing | Thu Nov 11 1993 09:51 | 16 |
| re: <<< Note 2851.2 by PAVONE::TURNER >>>
> Come to think of it, it bears a rather strong similarity to the one in
> the base note (jazz-blues plagiarism?!)
Just goes to show the inherent limitations of the genre, I guess.
:-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-) :-)
Please don't take this seriously, I'm just trying to capitalize on the
absurdity of the "wars" notes. (And if you _must_ make a rebuff please
take it to one of those notes, and don't trash this one.)
-- Sam (we explain for the humor impaired)
|
| 2851.5 | At least it's not I-IV-V though! | PAVONE::TURNER | | Thu Nov 11 1993 10:11 | 11 |
| re: .4
>> Come to think of it, it bears a rather strong similarity to the one in
>> the base note (jazz-blues plagiarism?!)
> Just goes to show the inherent limitations of the genre, I guess.
You know, I was half thinking of adding that myself when I originally
wrote the note! I just knew some shredder would comment...
Dom
|
| 2851.6 | It was meant completely as a JOKE | SSDEVO::LAMBERT | I made life easy just by laughing | Thu Nov 11 1993 10:40 | 9 |
| Shredder? Me? BAHAHAHAHAHAHA! Actually, after last night, I think about
the only thing I'm capable of playing right are I-IV-Vs... I knew I
shoulda stuck to bass. :-)
Oh, BTW, those are cool progressions. Please do keep posting 'em. I'll
try to "tab out" a few myself.
-- Sam (who listens to everything, but can only play the easy stuff (and
"emotionlessly" at that))
|
| 2851.7 | Coltrane's progressions | RANGER::WEBER | | Thu Feb 10 1994 07:55 | 8 |
| The March, 1994 issue of Downbeat magazine has an article by David
Baker on the "Coltrane trick", a method of extending chord progressions
that Coltrane perfected on his "Giant Steps" album. Baker has written
about this at length in several of his excellent books on jazz
improvisation. If you are unfamiliar with this technique, the article
is a good start. If you don't own "Giant Steps," shame on you!
Danny W.
|
| 2851.8 | I would like a copy | ULYSSE::WILSON | John, 828-5631 | Wed Mar 30 1994 05:54 | 9 |
| Danny
Could you possibly send me a copy of the article in the internal mail?
Downbeat is hard to get here in France. Also I would be grateful for
the full titles of the books as I would be interested in ordering them.
regards
John
|
| 2851.9 | Thanks for sending | ULYSSE::WILSON | John, 828-5631 | Thu May 05 1994 09:26 | 18 |
| DAnny
Thanks for sending the Downbeat article. I was on a music course last
week and learned a lot about harmony and substitutions in blues: blues
in varying degrees of complexity was the standard chord sequence used
in most classes.
Jamey Aebersold's "Jazz Aids Handbook" which comes free if you order
one of his books contains a series of increasingly complicated blues
progressions by Dan Haerle, culminating in:
FM7 : F#m7 B7 : EM7 EbM7 : DbM7
BbM7: Bm7 E7 : AM7 : Am7 D7
GM7 : GbM7 : FM7 AbM7 : GM7 Gb
John
|