Discussion in 'Playing and Technique' started by squeally dan, Jul 13, 2006.
Its on some sheet music for church.
C7 (#9, #5)
Eb/Ab- Is this a Eb with an Ab in the bass? How would you play that?
With the #5 #9 chord remember also that you might not need (or want) to play the root note depending on what the bass and/or piano is doing. It makes your life easier.
One way for the Db2 would be
Yes that's a Eb with an Ab in the bass. Again it might be best to let the bass player play the Ab.
Or I guess you could do this:
Playing in my church band has made me realize how little I know about chord construction. In most rock music you never play lots of these chords. Thanks for the help.
It's a fun and rewarding thing to learn, and not that complicated.
Even if you don't use a lot of extended or altered chords, understanding the chords you do use all the time opens up a whole world - and is really pretty simple to get.
THAT is brilliant in its simplicity.
Got any more like that?
I like the way this shape can lead to F9:
Make sure that you know all degrees, not just shapes and be aware chords
before and after... to make smooth line.
C7 (#9 b13) is same thing. It's usually go back to 1 chord which
is F-7 or FMaj7... or F7..... or maybe goes somewhere else.
It's fun playing comping!
PS, I used to play at Concord Church in Boston.
People liked my B.B. King licks around song. I played all tunes
by ear. No charts. All by feeling. That was best way to play
Gospel music for me. Watch out Organ player!
You inspired me to post this.
I'll weigh in with...it looks like you could use some fundamentals.
You can get a comprehensive ground up approach to chord building with my Chord Construction Series at my lesson site.
Depending on what level you are at it might be a good for you to read through the Interval Series first. It'll get you primed up for building chords.
It's a pretty simple approach, but will give you info you'll use forever.
Playing in church is the single best thing I ever did. Of course it was the best thing I ever did for my playing too!!!!!
Yes, context is important.
It's not just the chord, it's where you're going, and where you've been.
It's not just a formula - what's "right" over what chord - but how it fits into the line.
You're telling a story, not doing a series of math problems.
I liked the way you said. Thanks.
Looking for quick answer is a problem, need to look for a story is
That's why I am not into books of scale, chord, theory.
Old Tele Man,
I love the four note fingering "construction" approach! I'm moving through a jazz course, and the author started by listing all of the inversions for a F7 chord across the neck. Then he simply started giving simple instructions for building the other chords. He did not list these other chords, as he wants you to learn how to "build" them yourself. I've been amazed at the number of chords I know now.
editor note: F(#)m7 and Bm11 are.........
I like your comment on voice leading too. I should make more good example of what we are saying in writing. I can record on my tape recorder easy..
but I am good at making mp3s. but here is jazz chord solo Hope people can hear some voice leading. Sorry for too many