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Discussion in 'Tab & Music Forum' started by dogletnoir, Dec 1, 2019.
New Orleans riverboat meets the Staten Island Ferry, and they decide to get along.
i like it!
The Real Book changes for MFT are loosely based on the Coltrane version, so i doubt that any horn players
would get upset and throw things. When we did it in the jazz duo, i played those exact same changes with
absolutely no complaints from the soprano saxophonist whatsoever.
i think you're safe, at least as far as key selection goes anyhow.
As for the written symbols, there are several different ways to write most chords in shorthand for a lead sheet,
some being much more commonly used than others.
The minus sign, lower case m, or mi would all indicate minor.
A triangle, uppercase M, or maj would indicate major.
dom or 7 would be a dominant 7 chord, a circle or dim is diminished, aug or + is augmented, sus is suspended,
and mi7b5 or a circle with a line through it is a minor 7 flat five chord, also known as the half diminished chord.
Once you get into the 9ths, 11ths, and 13ths, you will usually just see the interval, preceded by a flat or sharp
if there is a chromatic alteration as you see in the final chord of the B section of MFT in the Real Book, which is a B7b9 .
If you were spelling that out as stacked third intervals, you would have the root (B), major third (D#), fifth (F#),
and a flatted seventh (A), plus the flatted 9th (C).
As guitar players we usually only have 4 fingers available to voice chords with, so at least one of those notes
would have to be omitted.
Which one would be best to leave out?
The b9 is spelled out specifically and the major 3rd and flatted 7th really define the character of the V7 chord,
so depending on the rest of the instrumentation i would leave out either the 5th (since it's not really adding much colour)
or the root (especially if i was working with either a keyboard player or bassist), or even both if i was comping
behind a soloist in a small combo setting.
LOL... the only thing that might get thrown around in here is a dirty look or two from Jass Jassington,
but even that would only be a 'court of last resort'.
If Jass Jassington shows up, Stan Standardton will defend me.
not bloody likely... Jass owns the venue, the stage, the microphone...
Thanks, the Bits have now been properly instructed. The head arrangement they had in mind last night involved a baseball bat and an ambulance.
Think of it as lightly squished, come on get the guitar and show us the punk version.
No time, Mr. Bit.
LOL... that's just not cricket, old top!
My take one one of the most beautiful Xmas holiday songs. Thank you E:
That's very nice indeed! And a Merry Christmas to you, Sir.
Thank you Simon, you are too cool, but E makes it easy.
I was going to wish everyone Happy Holidays but thought it was a tad early. After all, there are 22 more days where I can pollute this thread some more .
Merry Christmas and Happy Holidays Simon, and to all the PMW'ers! I wish the best for all of you and your families...Alan
That's a beautiful, beatific, bluesy mash-up indeed... great stuff!
Thanks E. Like I mentioned to Simon, your very nice backer made it easy.
Because I'm very rusty at even reading chord charts, I found this an easy way of explaining it to myself. In the video below: Violet = Vamps, as well as intro and outros; Red = A section; Blue = B section, and Yellow = C section (like the sand at the seaside, geddit?)
Now I've found a way of explaining this fairly simple structure to myself, I'm finding it a lot easier to play the chords from memory. Those of you who can read charts without hesitation will probably wonder why I went to the trouble!
EDIT: I should also add, I got Basher Bennet to overdub the drums, to help me count the bars!
@dogletnoir (Some Stuff - A Lot) - Nice backers and backing guitar work this month. Cool use of delay, which is one of my favorite things here - adds a trippy hip vibe to your melodic phrasing.
@dogletnoir (Some Stuff - V2) - Nice tone and runs. The octaves sound great too. Both tracks sound pretty. Happy Holidays E and thank you for everything you do for us on ST.
OK, I've had a go at the 'top line' stuff, while relying heavily of @dogletnoir's chord and bass work for guidance:
I still practicing the chord parts and I may yet come up with a solo that doesn't sound quite as much like a man clutching at straws...
They say that when you're in a train wreck, 30 seconds can last a life time. I never believed it up until now...