Jazz progressions

[taylorfreak]

Anyone knows where i can get lots of nice-sounding jazz progressions? Those that u would wanna play when u test a new guitar!

Any website or posting right here will do fine...

[Mr.Hanky]

Just get a real book and pick some tunes. You really can't do any better than that.

[taylorfreak]

kinda difficult to get any of the fake books over here,

perhaps any kind soul might wanna contritube some websites?

Or perhaps just typed out any gd progressions here?

[Berlin Chris]

everything you´ll ever need is here (http://stu.westga.edu/~jmatthe2/WebPages/RealBooks.htm)

Have fun....

[taylorfreak]

Originally posted by Berlin Chris
everything you´ll ever need is here (http://stu.westga.edu/~jmatthe2/WebPages/RealBooks.htm)

Have fun....

though i feel like a pirate...but nevertheless...great website u have there..should keep me glued to the guitar for some time...

anyway, PDF files are troublesome..takes too long to load..:mad:

[sws1]

They take along time to load because they are all HUGE files. Most 25 Mbytes or higher.

[Dave Orban]

Originally posted by sws1
They take along time to load because they are all HUGE files. Most 25 Mbytes or higher. But well worth it, if you have the bandwidth... :dude

[taylorfreak]

hey guys,

Got a better idea with those gigantic files, i downloaded them!!

Therefore no more lags!

[Mr.Hanky]

I have that whole thing on CD-ROM with the master index.
What a great idea, no more huge books to tote around, need a tune? print it.

Whoever took the time to scan all these and index them should be commended, sheeet, I'll buy you a drink!

[taylorfreak]

Gd idea to store them on CD...

Would be even better if anyone would to print them out...

but at 500+ pages per book...and having around 10 books there...

who would?

[Mr.Hanky]

I think the whole point is that you do not have to print them all out, just the tunes you are working on.

[FrankW]

It may be very convenient to be able to download these books, but it is nevertheless theft. I don't care so much for the already illeagal books, but for the Chuck Sher Publications. They cost a lot of money, but they are absolutely worth it (and the composers get royalties), and I can't imagine that they are not available in Singapore. I wonder what mayham it would cause on this board if someone put a PDF version of SOS by Jack Zucker online?

[taylorfreak]

Originally posted by FrankW
It may be very convenient to be able to download these books, but it is nevertheless theft. I don't care so much for the already illeagal books, but for the Chuck Sher Publications. They cost a lot of money, but they are absolutely worth it (and the composers get royalties), and I can't imagine that they are not available in Singapore. I wonder what mayham it would cause on this board if someone put a PDF version of SOS by Jack Zucker online?

Sorry about that, would only use it for personal reference and wont print them out...:(

[-kk-]

FYI, the real books are everywhere. Ive seen them on the shelf at Borders at Orchard Rd, and a few other places. In fact, from what I rememberd i think that particular borders had quite a selection of jazz standards. You may wanna hit the store just for a browse.

Cant remember the prices though.

hope this helps.

[taylorfreak]

Originally posted by -kk-
FYI, the real books are everywhere. Ive seen them on the shelf at Borders at Orchard Rd, and a few other places. In fact, from what I rememberd i think that particular borders had quite a selection of jazz standards. You may wanna hit the store just for a browse.

Cant remember the prices though.

hope this helps.

yup,ive seen them at kino too..but they cost a bomb and i only wanted the chords for 1 song so not very worthwhile to buy the entire book...

anyway KK, you from Singapore too?

[-kk-]

Originally posted by taylorfreak
yup,ive seen them at kino too..but they cost a bomb and i only wanted the chords for 1 song so not very worthwhile to buy the entire book...

anyway KK, you from Singapore too?

kino is a little pricey but it may be worth it to get a book with and learn a few tunes from there.

Im not fr Spore, just travel there lots for work.

[Old Tele man]

Taylorfreak--tried the email address but it "bounced" so here's the info...

From: Mel Bay (MB-93293) "The Johnny Smith Approach to Guitar," Part-II, page 79.

basic phrasing (note "-" means MINOR):

II-9..to..V7..to..IM7..to..I6..to..II-9..to..bII-9..to..I(6/9).


| Dm9 / G9 / | CM7 / C6 / | Dm9 / Db9 / | C(6/9)/ C6 / |
| Cm9 / F9 / | BbM7 / Bb6 / | Cm9 / Cb9 / | Bb(6/9)/Bb6 / |
| Bbm9/ Eb9 / | AbM7 / Ab6 / | Bbm9/ A9 / | Ab(6/9)/Ab6 / |
| Abm9/ Db9 / | GbM7 / Gb6 / | Abm9/ G9 / | Gb(6/9)/Gb6 / |
| F#m9/ B9 / | EM7 / E6 / | F#m9/ F9 / | E(6/9)/ E6 / |
| Em9 / A9 / | DM7 / D6 / | Em9 / Eb9 / | D(6/9)/ D6 / |
| Dm9 / G9 / | CM7 / C6 / | Dm9 / Db9 / | C(6/9) / / ||

[jordanL]

FWIW Version 6 of the Real Book is now a legitimate product put out by Hal Leonard. Here in the US it lists for 25.00.

[taylorfreak]

Oh thanks TELEMAN!

:dude cant wait to get my guitar now and try that out!

[Old Tele man]

Taylorfreak--if you find that progression "interesting" then the following footnote from that same page should certainly 'pique' your interest and curiosity(!):

"NOTE: Some interesting melodic and chordal ideas can be accomplished by using the minor triad in the upper structure of the minor ninth chord as a simple component to work with." [empahsis is mine]

...I use this page with my chordal jazz students. There are three (3) things to observe VERY CAREFULLY on this page:

1) "...II-9...to...bII-9..." in basic phasing, but...
2) "...Dm9...to...bD9..." in exercises.
3) "...minor triad in the upper structure of the minor ninth chord..."

...if you figure it out by yourself...congratulations!
...if not, I'll post the answer later.

[taylorfreak]

Originally posted by Old Tele man
Taylorfreak--tried the email address but it "bounced" so here's the info...

From: Mel Bay (MB-93293) "The Johnny Smith Approach to Guitar," Part-II, page 79.

basic phrasing (note "-" means MINOR):

II-9..to..V7..to..IM7..to..I6..to..II-9..to..bII-9..to..I(6/9).


| Dm9 / G9 / | CM7 / C6 / | Dm9 / Db9 / | C(6/9)/ C6 / |
| Cm9 / F9 / | BbM7 / Bb6 / | Cm9 / Cb9 / | Bb(6/9)/Bb6 / |
| Bbm9/ Eb9 / | AbM7 / Ab6 / | Bbm9/ A9 / | Ab(6/9)/Ab6 / |
| Abm9/ Db9 / | GbM7 / Gb6 / | Abm9/ G9 / | Gb(6/9)/Gb6 / |
| F#m9/ B9 / | EM7 / E6 / | F#m9/ F9 / | E(6/9)/ E6 / |
| Em9 / A9 / | DM7 / D6 / | Em9 / Eb9 / | D(6/9)/ D6 / |
| Dm9 / G9 / | CM7 / C6 / | Dm9 / Db9 / | C(6/9) / / ||

ONe major question before i move on with my practice, we have 1 thumb and 3 fingers to comp, which strings do u normally comp to?

I usually use the bass/thumb and avoid the high E string, cos i suppose Jazz is more mellow? and guitar is often the accompany instrument, should "stand out" in terms of voicing...

how then should i play the above progression? a mixture of voicings or keep all highest voicings of the chords within the high B string?

[Old Tele man]

...certainly not a hard-n-fast rule, but generally:

1) melody chords are 4-note chords on treble strings...

2) INNER-voiced "comp" chords are 4-note chords on center 4 strings...

3) RHYTHM-voiced chords are 4-note chords on 6th and 4/3/2 strings (5th is skipped)...


ANSWER: because a full Dm9 chord consists of: ROOT, minor-3rd, 5th, 7th and 9th...and:

A) the footnote "steered" us toward paying attention to the upper triad; while...

B) the "basic progression" chords are IIm9 to bIIm9, but the exercise chords are IIm9 to bII9...notice the change from minor back to major!

...hence, the lesson is "covertly" hinting at the voicings that Johnny used, ie ("inner"):

Dm9
e|------ (not played)
b|----o- E (9)
G|----o- C (7)
D|--o--- F (m3)
A|----o- D (root)
E|------ (not played)

bD9
e|------ (not played)
b|---o-- bE (9)
G|---o-- B (7)
D|--o--- E (3)
A|---o-- bD (root)
E|------ (not played)

C(6/9)
e|------- (not played)
b|--o--- D (9)
G|-o---- A (6)
D|-o---- E (3)
A|--o--- C (root)
E|------ (not played)

C6
e|------- (not played)
b|----o- E (3)
G|-o---- A (6)
D|-o---- E (3)
A|--o--- C (root)
E|------- (not played)

My recommendation is to practice it three ways: first on treble 4-strings; then on center 4-strings; and, lastly, on bass and center 3-strings. That way you can become proficient at melody, comping and rhythm chording.

[taylorfreak]

Originally posted by Old Tele man
...certainly not a hard-n-fast rule, but generally:

1) melody chords are 4-note chords on treble strings...

2) INNER-voiced "comp" chords are 4-note chords on center 4 strings...

3) RHYTHM-voiced chords are 4-note chords on 6th and 4/3/2 strings (5th is skipped)...



I usually use a combination of INNER and RHYTHM comp so that the voicings when we changed that much..
Hence i will make use of the Low A and E strings as ROOTS within a static area of at most 4-5 frets away...to prevent the voicing from running all over...

Is that important when playing together with other? to maintain similar voicings to avoid clashes

[taylorfreak]

Originally posted by Old Tele man


ANSWER: because a full Dm9 chord consists of: ROOT, minor-3rd, 5th, 7th and 9th...and:

A) the footnote "steered" us toward paying attention to the upper triad; while...

B) the "basic progression" chords are IIm9 to bIIm9, but the exercise chords are IIm9 to bII9...notice the change from minor back to major!

[/B]

Arent they the same as chord substitution? Flat 5 root but with different chord..

Flat 5 -> Dm9 -> Db7 -> Cmaj9

i suppose there's bits of similarity?

anyway, there's a mistake in your chord Db9, its suppose to be x4344x instead of your x4244x which is a Dbm9..

sorry if im wrong...do correct me

[taylorfreak]

Originally posted by -kk-
kino is a little pricey but it may be worth it to get a book with and learn a few tunes from there.

Im not fr Spore, just travel there lots for work.

are u from the states?

Wanna help me bring back a PRS? :rolleyes:

hehehehe....:D

[Old Tele man]

...too much "cut-n-paste"...I "missed" that "m" in the bD9 chord!

...and, yes, I too often play 5th and treble 3 string "rhythm" chords..."fuller" sounding.

...one "reason" for using "closed" 4-note chords for MELODY is they enable you to make "HOLD two, MOVE two" chord changes without (usually) having to lift any fingers off the fretboard...makes for very nice "subtle" chord voicings with "minimum" finger movement.

...you're also correct about using chords that don't "step on" the melody...that's another reason for learning the same progression in the three different melody,comping and rhythm fingerings. Hence, "comping" chords are usually "safest" chords, because with no definite bass- or treble-notes, they provide 'chunk' but don't "step" on either the BASS or the MELODY lines.

...the "interesting" aspect of Johnny's lesson is that first he describes a "descending chromatic" progression (ie: Dm9...bDm9...CM7...C6) but writes a "flat-5 substitution" progression (ie: Dm9...bD9...C6/9...C6) in the exercise! I've played it both ways and they both work...albeit with slightly different inflections. [think ONE NOTE SAMBA here]

...another generality:
A) MELODY chords are played "vertically" meaning UP and DOWN the fretboard...with melody note on either 2nd or 1st string.
B) RHYTHM chords are played "horizontally" meaning ACROSS the fretboard to minimize both movement and tonal range...with bass note on either 6th or 5th string.
C) COMP chords go BOTH vertically and horizontally for maximum flexibility...ie: xxxx.., .xxxx. or ..xxxx.

[taylorfreak]

Originally posted by Old Tele man
...too much "cut-n-paste"...I "missed" that "m" in the bD9 chord!

...and, yes, I too often play 5th and treble 3 string "rhythm" chords..."fuller" sounding.

...one "reason" for using "closed" 4-note chords for MELODY is they enable you to make "HOLD two, MOVE two" chord changes without (usually) having to lift any fingers off the fretboard...makes for very nice "subtle" chord voicings with "minimum" finger movement.

...you're also correct about using chords that don't "step on" the melody...that's another reason for learning the same progression in the three different melody,comping and rhythm fingerings. Hence, "comping" chords are usually "safest" chords, because with no definite bass- or treble-notes, they provide 'chunk' but don't "step" on either the BASS or the MELODY lines.

...the "interesting" aspect of Johnny's lesson is that first he describes a "descending chromatic" progression (ie: Dm9...bDm9...CM7...C6) but writes a "flat-5 substitution" progression (ie: Dm9...bD9...C6/9...C6) in the exercise! I've played it both ways and they both work...albeit with slightly different inflections. [think ONE NOTE SAMBA here]

...another generality:
A) MELODY chords are played "vertically" meaning UP and DOWN the fretboard...with melody note on either 2nd or 1st string.
B) RHYTHM chords are played "horizontally" meaning ACROSS the fretboard to minimize both movement and tonal range...with bass note on either 6th or 5th string.
C) COMP chords go BOTH vertically and horizontally for maximum flexibility...ie: xxxx.., .xxxx. or ..xxxx.

thanks Teleman for all the invaluable advices and tips, have not touched my guitar for ages, u made me pick it up again! u're the man! :dude

anyway, in regard to the COMP chords which has allows bass on 4th,5th and 6th strings, woulden it cause mayhem in the tonal range and voicings? I mean it will sound weird if u play notes/melody more than an octave apart while comping..

another qn, when u talk about melody comping with the melody line on the 1st 2nd strings, does that mean eventually the bass will be on the 4th and 5th string respectively...

sorry, there seem to be some confusion between your first post introduction on comping and the lastest one...

[Old Tele man]

...it's all in how much/little "attack/sustain" you apply to the chord(s).

...when "comping" (think "lead" chords, not "lead" melody here), the 4-note chords are played with emphasis on expression and movement rather than on strict melody, so SINGLE notes are not emphasised.

...with melody chords, however, a SINGLE (melody) note IS emphasised...and it's usually the LAST note in the chord, so the chord is often played either arpeggiated or "boom-chick" style...however, sometimes the melody-note is the FIRST note played of the chord, as in bass-voice leading, where you want an ascending/descending bass-line to "walk" into the next chord or refrain [think MOONLIGHT IN VERMONT here].

...the idea is to "play" across the chord, letting the LAST note (melody) "ring" with emphasis...

[taylorfreak]

yeah, at last, completed the entire progression...abit tricky rgarding the voicings...and the confusion btw the x6 and the x9 chords...

anymore progressions or lessons?:)

[Old Tele man]

what 'confusion' with the x6 and x9 chords?..what fingering are you using?

Do you know the old jazz standard, Moonglow?

[taylorfreak]

Originally posted by Old Tele man
what 'confusion' with the x6 and x9 chords?..what fingering are you using?

Do you know the old jazz standard, Moonglow?

let's say G9

--x--
--3--
--2--
--3--
--x--
--3--

D9

--x-- x
--5-- 7
--5-- or 9
--4-- 10
--5-- x
--x-- 10

G6

--x-- x
--5-- 8
--4-- 9
--5-- or 9
--x-- 10
--3-- x


im was planning to use rhythm chords to minimise movement on the fretboard...but alas...was forced to change to comp chords when i had to move up to the 10+ frets in the 9 to 21st frets...

but i still treid to avoid the high E string...dont really like high voicings..but perhaps i have to practise that real soon...

[taylorfreak]

i have lots of fakebooks...but dont know most of the songs..including this one...

i was just looking forward to playing so popular jazz favourites...so that i can impress the opp sex in less than 16 bars...hahaha:D

[Old Tele man]

what are you trying to do, play those chords all in "one spot" with minimum movement? Or, are you going for "comping" chords? or combination?

PS--the song MOONGLOW has a chordal progression that "pedals" on one note through a descending seven chords(!). If you're interested, I'll diagram out the chords. Also, how's your "Bossa Nova" chords?

[taylorfreak]

Originally posted by Old Tele man
what are you trying to do, play those chords all in "one spot" with minimum movement? Or, are you going for "comping" chords? or combination?



i was trying to minimise movement up and down the fretboard...by usiing roots on the 5th and 6th strings..so i suppose i use a mixture of comp chords too...

this is getting complicated...the terms and stuff...hahaha....just play and go! :D

anyway, what u mean by bossa nova chords?? haha...

[Old Tele man]

Taylorfreak--here's a "tip / secret" about the x6 and x9 chords....the SAME fingering!

...actually, it's just ONE inversion fingering thats the same, but look VERY carefully at the following three chords and you should recognize a pattern simularity (x=not played):

G9...(on treble 4-strings)
E|----o-- 5 (9th)
B|-----o- 6 (7th)
G|---o--- 4 (3rd)
D|----o-- 5 (root)
A|------- x
E|------- x

G6...(rhythm chord)
E|------- x
B|--o---- 3 (5th)
G|---o--- 4 (3rd)
D|-o----- 2 (6th)
A|------- x
E|--o---- 3 (root)

DM9...("inner" center 4-string chord)
E|------- x
B|--o---- 3 (9th)
G|---o--- 4 (M7)
D|-o----- 2 (3rd)
A|--o---- 3 (root)
E|------- x

...did you recognize that ALL THREE CHORDS have the same basic "shape" and (except for the G6) utilize exactly the same "fingering"...with the G6 and DM9 "shapes" being the same, too, except that their "bass" notes are fingered, respectively, on the 6th and 5th strings...(hint: just move that one finger and you've changed from I to V7!)

...for "minimum" movement, I'd use the "no-root" G9 chord on the center 4-strings:

G9(nr)...
E|------- x
B|--o---- 3 (5th)
G|-o----- 2 (9th)
D|--o---- 3 (7th)
A|-o----- 2 (3rd)
E|--:----- x (implied root note G)

If you're interested in learning a chordal jazz Bossa Nova song, look for my arrangement of ONE NOTE SAMBA in Richard Scott's MONEYCHORDS website.

[taylorfreak]

Originally posted by Old Tele man

If you're interested in learning a chordal jazz Bossa Nova song, look for my arrangement of ONE NOTE SAMBA in Richard Scott's MONEYCHORDS website. [/B]

where do i get it then?

[Old Tele man]

...here's the website URL:

http://www.moneychords.com/

...go to STANDARDS (yellow area, upper-lefthand corner)

...pick ONE NOTE SAMBA (white area, center)

...select "chord arrangement (McCaul)" (yellow area, upper-lefthand corner)

[Old Tele man]

Taylorfreak--contact me at:

elmccaul at comcast dot net

[mtfingers]

Hey man, here are the changes to Moonglow:

||:Gm | Bbm6 | F | G7 |

|Gm | C7 | F Abdim |Gm7 C7 F :||
Bridge:
|F9 | F9 E9 Eb9 | D9 | D9 |

|G7 | G7 | Gm7 Db9 | C9 |

Then repeat the A section one more time. Pretty basic.

[taylorfreak]

Originally posted by Old Tele man
Taylorfreak--contact me at:

elmccaul at comcast dot net

mail sent!!

sorry, forgetten to put my initials, im victor aka taylorfreak..