Re: theory question

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Posted by Carol on November 14, 2000 at 03:00:43:

In Reply to: Re: theory question posted by JDP on November 11, 2000 at 20:26:54:

That's called a "split-chord", JDP, you're correct....the bass has the note on the bottom (right side) and chordal instruments are the left (or top). In straight-head jazz, this is only observed on the head (tune itself) only, with walking resumed on the chord itself once you've played the head.

Another tip is that if you see chords like this: Dm7// G7// Dm7// G7// (repeat of the first 4 beats), in walking you can change the chords to: Dm7//// G7//// this is very common but is not noted in the Real Book changes which sometimes are very wrong (as I understand it, pianists who transcibed those sometimes put their own pet chord changes in there.....sometimes it's very off from what we all played back in the 50s, but is still the only real source of standards for working). Also another quick interpretation is hardly ever notated: If the tune starts on a ii chord (that's solfeggios for 2 minor, the dots always mean minor, if it was a major it'd be: II, no dots), then you set it up with the cycle chord before it, going to the VI7 which feeds then into the ii7 chord just fine, as in Satin Doll -- the first chord is Dm7 -- in the 1st ending, you'd play C// Fmaj7// Em7 to A7.....this is not notated in the Real Book at all, but is a rule of thumb by all jazz musicians....see how the A7 feeds just fine into the cyclic....same thing happens in the middle of "All The Things You Are" -- when it ends in G and you have to play Am7 after that, you have the 8 beats, here's how you'd play them: G// C7 (or C13, same chord for the bass), Bm7-5// E7// setting it up for the Am7....sometimes you'll use the tighter chords of Bm7-5 to E7-9 (the dash means flat) to have a tighter resolution to the Am7. See my Playing Tips page for more theory like this. Carol Kaye

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