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You're right Jimmy. It's the sum of the parts. He does have that socially awkward college prof thing happening. I can't verify the tweed jacket elbow patches though.
 

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Just caught this thread and thought I'd pitch in quickly. I'll assume the Real Book has been discussed. Here's my copy that been shelved since the mid 90's. I'm not so into jazz but I might have a few shuffles through for some ideas soon. Pretty much the bible for Standards I'd think. A goldmine for this type of club I'd imagine. This is the '88 edition. I think they still sell em.

 

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View attachment 332044
This chart is (ostensibly) for the version found on Art Farmer's album Interaction. Jim Hall is rad/the guitarist on that album. If you're picking through the melody, I'm 90% sure that the As in bars 4, 6, 20 and 22 should be Bbs. Someone with a better ear than me can confirm or deny that. If you don't read music and want to play along I can try to post tab but it might take a little while. Here are the chords as Mickey Baker (he of ye olde jazz guitar method fame) would spell them as well as some other useful variations:
Fmaj7= 1X221X OR X 8 10 9 10X
Eb7= X6868X OR 11X 11 12 11X
D7(b5b9)= 10X101110X OR 4X443X
D7/9= X54220 (someone must have a better one than this lol)
D7= 10X 10 11 10X OR X57575
G-7(minor 7th)= 3X333X OR X10X101110
Bb- = 688666 OR X13321
A-7= 5X555X OR X12X121312
D-7= XX0211 OR X5X565 OR 10X101010X
C7= X35353 OR 8X898X
Bb-7(b5)= 6X665X
F6= X810101010

Let me know how you get on and feel free to post alternate voicings, comping ideas etc. Sorry if this post is a bit of a gongshow, I scratched the voicings out over lunch.
I’ve been playing this song for years, and I, and everyone I know play those As as As, not b flats. I just checked out the recording. It’s in a different key (Eb), so the note is a g instead of A, but the chart is correct either way
 

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View attachment 332044
This chart is (ostensibly) for the version found on Art Farmer's album Interaction. Jim Hall is rad/the guitarist on that album. If you're picking through the melody, I'm 90% sure that the As in bars 4, 6, 20 and 22 should be Bbs. Someone with a better ear than me can confirm or deny that. If you don't read music and want to play along I can try to post tab but it might take a little while. Here are the chords as Mickey Baker (he of ye olde jazz guitar method fame) would spell them as well as some other useful variations:
Fmaj7= 1X221X OR X 8 10 9 10X
Eb7= X6868X OR 11X 11 12 11X
D7(b5b9)= 10X101110X OR 4X443X
D7/9= X54220 (someone must have a better one than this lol)
D7= 10X 10 11 10X OR X57575
G-7(minor 7th)= 3X333X OR X10X101110
Bb- = 688666 OR X13321
A-7= 5X555X OR X12X121312
D-7= XX0211 OR X5X565 OR 10X101010X
C7= X35353 OR 8X898X
Bb-7(b5)= 6X665X
F6= X810101010

Let me know how you get on and feel free to post alternate voicings, comping ideas etc. Sorry if this post is a bit of a gongshow, I scratched the voicings out over lunch.
I'm going to try to analyze a bit of this song as an example of what I was writing about earlier. This isn't necessary for learning the song. It's totally optional. But it might help with the soloing.

I won't go into explaining ii-V-I's here, but luckily there are plenty of resources on that topic.

(Edit: I'll try to explain in another post. I'm using uppercase roman numerals for major and dominant 7th chords and lowercase for minor chords.)

My jazz brain is very rusty, but hopefully not faulty. Again, someone more experienced can jump in if I'm wrong.

This song is in F major. We start off with an Fmaj chord and then quickly to an Eb7. What the heck? Pretty sure that's what's called a tritone substitution. You could substitute an A7 instead and it would sound fine. Either way, the A7 or Eb7 resolves to 2 bars of D7 and then 2 bars of Gm.

So Eb7 (or A7) is targeting D7.

D7 is targeting Gm.

After that it's Bbm to Eb7. (That Eb7 again?) The Bbm is just the ii chord before the V chord, Eb7. But where is this ii-V going? How does that fit with the next chord, Am?

Am / Dm / Gm / C7 is a chord progression in the key of F major (a iii-vi-ii-V-I progression, the I chord being F maj). You can think of those 4 bars as F major. You may also know that D minor is the relative minor of F major (they share the same notes). A7 resolves to Dm. Where did A7 come from? Remember that tritone substitution trick earlier with the Eb7? You can easily substitute Eb7 with A7. A7 transitions nicely to Am to set up the rest of the Am / Dm / Gm / C7 chord progression.

So Bbm - Eb7 (or A7) is targeting a (iii-vi-ii-V) chord progression in the key of F major (or D minor).

I think I'll stop there for now. It's a lot to absorb. Hopefully, I didn't totally muck it up.
 

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Discussion Starter #47
I’ve been playing this song for years, and I, and everyone I know play those As as As, not b flats. I just checked out the recording. It’s in a different key (Eb), so the note is a g instead of A, but the chart is correct either way
Thanks Trevor! My ear is sketchy at best, I just needed someone to confirm its sketchiness lol.
 

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View attachment 332044
This chart is (ostensibly) for the version found on Art Farmer's album Interaction. Jim Hall is rad/the guitarist on that album. If you're picking through the melody, I'm 90% sure that the As in bars 4, 6, 20 and 22 should be Bbs. Someone with a better ear than me can confirm or deny that. If you don't read music and want to play along I can try to post tab but it might take a little while. Here are the chords as Mickey Baker (he of ye olde jazz guitar method fame) would spell them as well as some other useful variations:
Fmaj7= 1X221X OR X 8 10 9 10X
Eb7= X6868X OR 11X 11 12 11X
D7(b5b9)= 10X101110X OR 4X443X
D7/9= X54220 (someone must have a better one than this lol)
D7= 10X 10 11 10X OR X57575
G-7(minor 7th)= 3X333X OR X10X101110
Bb- = 688666 OR X13321
A-7= 5X555X OR X12X121312
D-7= XX0211 OR X5X565 OR 10X101010X
C7= X35353 OR 8X898X
Bb-7(b5)= 6X665X
F6= X810101010

Let me know how you get on and feel free to post alternate voicings, comping ideas etc. Sorry if this post is a bit of a gongshow, I scratched the voicings out over lunch.
That Bb is just a passing note to the A.

I tend to develop my arrangements very slowly over time. I can always explain what I'm doing but I can't always explain why I've done it other than to convey a certain feeling or sentiment. In the case of Days Of Wine And Roses, I've always loved the darkness and melancholy of it. The story touches on a very real and significant part of my own life so I have a personal story to tell with the song. That makes the story more important to me than the theory.

One thing I have added is a repeating theme that ties the pieces together. This is a technique that Dave Grusin has used really well over the years and it always impressed me as both creative and a way to take a classic tune and add a personal touch to it to make it your own.

I did this video about 18 months ago. It's continued to evolve since then, especially at the end getting ever darker and more about feel and less about chops.

 

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I'm familiar with TDOWAR's so I'll take a shot at this.


This song is in F major. We start off with an Fmaj chord and then quickly to an Eb7. What the heck? Pretty sure that's what's called a tritone substitution. You could substitute an A7 instead and it would sound fine. Either way, the A7 or Eb7 resolves to 2 bars of D7 and then 2 bars of Gm.

* Relative to the FM7 the Eb7 is often referred to as the b77 chord. Just a whole step down from the tonic FM7. It's a not uncommon movement. Remember the melody note on the Eb7 is an A so that needs to be maintained. A Tritone sub would work and be nice but would need to be an A altered chord containing that A melody note. Just 2 ways of looking at it. (Melody is king, at least in the first A section, and must be played. Otherwise it's just chord changes)

Either way, the A7 or Eb7 resolves to 2 bars of D7 and then 2 bars of Gm.

* Yes, that's just the way the bassline/chords move. From the start (FM7) the progression is just trying to get somewhere. It's trying to get to the 2 chord. The Gm. Typical.


After that it's Bbm to Eb7. (That Eb7 again?) The Bbm is just the ii chord before the V chord, Eb7. But where is this ii-V going? How does that fit with the next chord, Am?

* Then it moves from Gm to Bm7(the 4 chord) It's moving up a minor 3rd. Another common move in jazz harmony and which appears in numerous standards. The Eb7 is still the b7 chord diatonically, no worries. The 2,5 you mention ( Bm to Eb) doesn't resolve like a typical 2,5 which would be to Ab. It resolves to Am and the melody note is a G.


Am / Dm / Gm / C7 is a chord progression in the key of F major (a iii-vi-ii-V-I progression, the I chord being F maj). You can think of those 4 bars as F major. You may also know that D minor is the relative minor of F major (they share the same notes). A7 resolves to Dm. Where did A7 come from? Remember that tritone substitution trick earlier with the Eb7? You can easily substitute Eb7 with A7. A7 transitions nicely to Am to set up the rest of the Am / Dm / Gm / C7 chord progression.

* The 3,6,2,5 should just be thought of as part of the song structure. It's a 3,6,2,5 working it's way back toward the tonic (FM7) and the top of the form again. It can be thought of as a turnaround to get back to the top or just part of the progression, because the melody runs over it. It's both.

Ok, that's it. I'm done. If someone wants to call the jazz cops feel free. I'm homeless. They won't find me anyway.
 

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Here is a piece I just re arranged for my students to get them started with chord / melody playing.
Fly me to the Moon is a classic and I kept it in the key of G for ease of reading. Don't worry if you struggle with notation reading as the chords I have laid out should get you thru the piece as long as you know the basic melody. Embellish it any way you like as that is encouraged, and give it a syncopated feel.
Hopefully you can download the chart as I transferred from PDF to JPEG, if you can't, send me an email and I will forward the PDF to you
[email protected]
fly me to the moon.jpg
 

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BB: Well, we're heading into November, so you might want to start working on your jazz moustache. It will improve your technique for sure.
 

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I did try the jazz moustache and you're correct. Arpeggio's flowed more effectively and the more complex voicings seemed to ring clearer.

I then augmented with the quintessential goatee and found even further improvement.

I'm actually a bit apprehensive to think what one of those little jazz hats would do. Maybe too much technique.

For example, Mitch has clearly blown through the stach, goat, hat continuum.


 

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I have been at part 1A of Marc-Andre's program (in the video above) for at least a couple of years now....i.e., learn chords, chords, chords.
 

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I'm going to try to analyze a bit of this song as an example of what I was writing about earlier.
That's the way I was taught to break down a song. Always trying to keep to the same key as long as possible. We would often write out the diatonic scale for each key.

And then we would look for opportunities!

One thing about odd chords is they are often pointing to the bass line, indicating chromatic movement, especially those slash chords. The sharp and flat 9ths and 5ths are sometimes the melody notes.

I was taught mosty from the Reader's Digest books. I should look to see what chords they have for this song...
 

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I'm familiar with TDOWAR's so I'll take a shot at this.


This song is in F major. We start off with an Fmaj chord and then quickly to an Eb7. What the heck? Pretty sure that's what's called a tritone substitution. You could substitute an A7 instead and it would sound fine. Either way, the A7 or Eb7 resolves to 2 bars of D7 and then 2 bars of Gm.

* Relative to the FM7 the Eb7 is often referred to as the b77 chord. Just a whole step down from the tonic FM7. It's a not uncommon movement. Remember the melody note on the Eb7 is an A so that needs to be maintained. A Tritone sub would work and be nice but would need to be an A altered chord containing that A melody note. Just 2 ways of looking at it. (Melody is king, at least in the first A section, and must be played. Otherwise it's just chord changes)
Makes sense. A whole step movement isn't necessarily complicated.

Yeah, I always used to forget about factoring in the melody when analyzing. Obviously I haven't forgotten to forget!
 

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I was taught mosty from the Reader's Digest books. I should look to see what chords they have for this song...
They call the first Eb7 a Cm6, the chord chart has an eb on the D string for the lowest note. The bass line on the FMaj7 being f, e and then eb on the Cm6. The Eb7 after the Bbm is not there, it is two bars of Bbm.
 
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