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Post by jazzalta on Jun 4, 2004 13:11:38 GMT -5
I had the same problem. But, thanks for the job you did. I play this tune kinda close to the Joe Pass version, with a little "stuff" of my own. A great tune.
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Post by jazzalta on May 18, 2004 18:54:37 GMT -5
You got it. Can't talk a lot right now (kids in hospital) but I'll email you soon.
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Post by jazzalta on May 14, 2004 12:37:12 GMT -5
Could do it there or at 5th fret. Like I said I like to change this around a bit.
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Post by jazzalta on May 13, 2004 8:58:27 GMT -5
Yeah, pretty much. I bar the Dmaj7 and D6 but that's a personal choice. Oh, and FYI my 175 came in and it's SUUUweet.
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Post by jazzalta on May 12, 2004 0:10:59 GMT -5
Actually, in retrospect, the F#9aug5 will actually work better. (Just remember I never play this tune the same way twice. With augmented chords I may or may not put a ninth or other extension in there. I like the flexibility that way). I use the notes F#,E, A#, D,G# for that chord. A7+ is just an augmented (A, G, C#, F) and the Bmajmin is B, A#, D, F#.
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Post by jazzalta on May 11, 2004 7:48:33 GMT -5
Hi. Just a note, there are some places where I couldn't get the bar line to go in. I don't seem to have one on my keyboard and when I try to paste one it I'm not always successful. At any rate, if you have any questions on specific chords let me know. My version is kind of a Joe Pass/Kevan Tolley kind of thing. But I also play it in the original too (F). It is a great tune.
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Post by jazzalta on May 10, 2004 23:28:28 GMT -5
GEORGIA ON MY MIND Key of F 4/4 [: F | A7 | Dm | Bb Bbm | 1.________________________ | F E7 | Gm7 C7 | F F#dim | Gm7 C7 :] 2.___________________________ | F | Em7b5 A7 | Dm Gm | Dm Bb7 |
| Dm Gm | Dm7 G7 | Dm | Bm7b5 E7 |
| Am7b5 D7 | Gm7 C7 || F | A7 |
| Dm | Bb Bbm | F E7 | Gm7 C7 |
| F | F ||
The above represents the original changes. Below are chords I derived from an Oscar Peterson arrangement. See what you think.
[: F | Bbm6 A7 | Dm F9 | Bm7b5 Bbm6 | 1.________________________ | Am D9 | Db9 C7 | Eb9 D9 | G7 C7+ :] 2.______________________ | Gm7 C7 | Fmaj7 Bb7 | F Gm7 A7 |
| Dm Em7b5 A | Dm7 Bb7 A | Dm Em7b5 A |
Dm Em7b5 A | Dm7 Bm7b5 E7 |
| Am7 Ab9 | G9 C7+ || F | Bm7b5 A7+ |
| Dm F9 | Bm7b5 Bbm | Am7 D9 | Gm7 C7 |
| F Bb Bdim | F\C Caug ||
The chords I use in my chord melody are below. Note the key change:
[: Dmaj7 D6 | C#sus4 C9 | Bm7 Bbm7 Am D13b9 | Abm7b5 Gm6 | F#m7 F#aug13 |B13 B7 | Em7 A13 G13 | F#13 C9 B9 F9| Em9 A13 A7+ | Dmaj7 G13 |C#11 C7b5 | Bm7 D9 | Gma7 G#dim| D\A B13| Em7 A13 | D G13 |D F#/C# F#7 || | Bm Bmajmin |Bm7 G9 F#9 | Bm Bmajmin |Bm7 E9 |
Bm Bm7 | F#m7 C#7+ |F#m7 F7| E7sus4 Eb7#9
Dmaj7 D6 | C#sus4 C9 | Bm7 Bbm7 Am D13b9 | Abm7b5 Gm6 | F#m7 F#aug13 |B13 B7 | Em7 A13| D
I sometimes modulate into the key of A when I want to be adventurous.
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Post by jazzalta on Jun 10, 2004 15:20:31 GMT -5
A gentle reminder about Roman numerals. They're great if you're really up on your scales and heavily into transposition. When working with singers, I use them all the time on the fly with other band members who know what the hell I'm talking about. But there are still some of the weekend warriors who frown your way when you start talking 'bout bVII's and dimV's etc.
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Post by jazzalta on May 30, 2004 21:03:13 GMT -5
Yeah, I've always been known to be "backasswards." I've learned on my own and I guess it shows. So most of my comping is usually done on the high strings unless I'm in a duo or something. That's what's nice about the guitar: it lends itself to so much variety of playing styles.
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Post by jazzalta on May 30, 2004 17:54:41 GMT -5
I think it depends on the situation, i.e., comping behind a vocalist, as part of a trio, as part of a large group, etc. In my group (5 piece) I play a lot of chords on the bottom 4 strings (D,G, B, E) and also a lot of tri-tones. I find that with keys and another rhythm player there's plenty of stuff in the midrange, so I play very minimally.
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Post by jazzalta on May 24, 2004 11:14:26 GMT -5
Anders, keep up us to date on that Cherokee arrangement. I'd love to see what you've done with it. Maybe we can collectively see how to get it posted. Good luck.
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Post by jazzalta on May 23, 2004 21:05:48 GMT -5
I used to play this a long time ago and have recently added it to my song list. The first version is from the Vanilla book.
CRY ME A RIVER Key of Cm (Eb) 4/4 [ Cm Cm maj7 | Cm7 Cm6 | Fm7 Bb7 | Eb G7 | _ | Gm7b5 C7 | F7 | Fm7 Bb7 | Eb G7 ] [ Cm Cm maj7 | Cm7 Cm6 | Fm7 Bb7 | Eb G7 | | Gm7b5 C7 | F7 | Fm7 Bb7 | Eb D7 |
Gm | Am7b5 D7 | Gm | | Am7b5 D7 | Gm | Am7b5 D7 | G | | Dm7 G7 || Cm Cm maj7 | Cm7 Cm6 | Fm7 Bb7 |
| Eb G7 | Gm7b5 C7 | F7 | Fm7 Bb7 | | Eb |
My version:
[ Cm Cm maj7 | Cm7 Cm6 | Fm7 Bb7 | Ebmaj7
Dm7 G7 | C7 C7b9 | F9 | Fm7 Bb7 Ab/Bb |
Eb6/9 Gaug7 ]
Cm Cm maj7 | Cm7 Cm6 | Fm7 Bb7 | Ebmaj7
Dm7 G7 | C7 C7b9 | F9 | Fm7 Bb7 Ab/Bb
| Eb D7#9 | Gm Em7b5 |Eb7#11 D7b9 |
Gm Em7b5 |Ab7#9 D7b9 | Gm Em7b5
|Eb7#11 D7b9 | Gmaj7 | Dm7 G7 || Cm Cm maj7
| Cm7 Cm6 | Fm7 Bb7 | Eb G7 | C C7b9 |
F9 | Fm9 Bb7 | Eb 6/9 |
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Post by jazzalta on May 18, 2004 22:36:18 GMT -5
Hi Mistral. I use Fender flats (52-12) on my Gibson ES-175. I replace the 12 with a 13 to even out the set a bit. These are awesome strings (ala Joe Pass sound), cheap, but are fairly limited re sound. If you're into pure jazz give these a try.
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Post by jazzalta on May 18, 2004 22:40:58 GMT -5
I have recently discovered a great download site: www.emule-project.net. I have been able to download a ton of jazz guitar "stuff" including transcriptions by Joe Pass & Wes Montgomery, and jazz guitar licks. Check it out.
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Post by jazzalta on Jun 8, 2004 16:09:19 GMT -5
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