Music notation software is too much work if you only want to write chord charts, I've been using this shareware app, Chordwriter, for 20 years now (no longer available) .
Originally Posted by AllanAllen
I wish I had time to learn MuseScore so I could rewrite these and make everything uniform.
Add that to my ever growing to-do list.
The diagrams look like this:
This app has good reviews, but it isn't free: Neck Diagrams-Download
So C Melodic Minor voicings.... (b9, #9, b5, #5)
Trombones are B D# A C so yeah, that should say b9.
Originally Posted by AllanAllen
Last edited by Mick-7; 06-12-2024 at 10:52 AM.
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Yeah, I knew what to play after your reply. I wanted to see it through since a few people said to look at what the other instruments are doing. I also really didn't think someone would call an augmented and flat 5 in the same chord. Luckily I found that b9 and it's just a typo.
Don't overthink it. It's a B dominant going to an Emaj in the next bar. Play the 7th or 3/7.
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The plus doesn't mean add 7.It means sharp the 5.
That doesn’t make sense though. There are plenty of dom7 chords without an add7. Music tends to make sense, it’s why I like it so much.
Last edited by pawlowski6132; 06-12-2024 at 11:30 AM.
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mr. beaumont
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I think you just have to look at it as a classic sh*tty big band guitar chart that is giving you the overall sound of what the horns are doing to flesh out the full chord...in this case it's a very specific altered dominant.
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The plus doesn't mean add 7.
It means sharp the 5.
It's my post.
Oh, I get what you mean now. I thought you said B+ would be B D# F##, but B+7 would be B D# F# A (natural 5th). But you meant add a dom7 to the augmented triad, not an "add7" chord.My bad, I'm not good at all this written music stuff.
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Yes!
Oh, I get what you mean now. I thought you said B+ would be B D# F##, but B+7 would be B D# F# A (natural 5th). But you meant add a dom7 to the augmented triad, not an "add7" chord.
My bad, I'm not good at all this written music stuff.
I'm not great either. But I don't read/play charts either.
For my approach (not playing in a group or with just a soloist)
1. Pick the tune
2. Lean the progression (ex. II-V-I, etc.)
3. Pick a key
4. Play!By doing it that way, I have lots of freedom to choose inversions, voicings, substitutions, progression changes etc.
Much easier for my little brain.
That way I don't have to remember chords, shapes, etc. and you can play the song in any key.
p.s.
One other thing I do to make it even more simple to learn is just distill the changes down to the bear minimum. In other words, you can remove the helper chords. Probably, most of the non-diatonic, secondary dominant chords aren't necessary. Plus you can get rid of m7 chords functioning in a non-diatonic II-V. Most songs from the American Song Book, Tin Pan Alley era that follow this traditional functional harmony can be treated this way. If you look at it from a progression (vs chord name) perspective, they're all very similar.
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Hello.
As a classical wind player trying to learn how to do Freddie Green ( on guitar), my approach is probably backwards and not the best, but really enjoyable:-Put on a random Count Basie tune on spotify.
- Improvise on the D string.
-try adding the G string if the tempo allows it, and there is a convenient chord grip.Question for you real guitarplayers: can you point me to the for me not so obvious holes in my method? Perhaps some tunes ( in this style) where a more vertical understanding of harmony is important. Or where you know I can’t get away with it…
( I do read charts if I have to, and know the basic chords)
J
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Not sure if I qualify as a "real" guitarist, I'll have to ask one of my imaginary playmates and get back to you, however....
Hello.
As a classical wind player trying to learn how to do Freddie Green ( on guitar), my approach is probably backwards and not the best, but really enjoyable:-Put on a random Count Basie tune on spotify.
- Improvise on the D string.
-try adding the G string if the tempo allows it, and there is a convenient chord grip.Question for you real guitar players: can you point me to the for me not so obvious holes in my method? Perhaps some tunes ( in this style) where a more vertical understanding of harmony is important. Or where you know I can’t get away with it…
( I do read charts if I have to, and know the basic chords)
J"can you point me to the for me not so obvious holes in my method?"
Afraid I'm going to have to remove the words "no so" from your sentence because the hole in your approach is obvious, which is: the primary role of the rhythm guitarist is to, as the name implies, provide rhythmic/harmonic support to the horn players and soloist. Therefore, he can't be improvising the changes any more than the bass player can be (and he must be in sync with him). In other words, serious study is required to develop this skill, one can't just play it by ear.
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I think you started with one of the "pie in the sky" end goals as opposed to actually going through the process.
Hello.
As a classical wind player trying to learn how to do Freddie Green ( on guitar), my approach is probably backwards and not the best, but really enjoyable:-Put on a random Count Basie tune on spotify.
- Improvise on the D string.
-try adding the G string if the tempo allows it, and there is a convenient chord grip.Question for you real guitarplayers: can you point me to the for me not so obvious holes in my method? Perhaps some tunes ( in this style) where a more vertical understanding of harmony is important. Or where you know I can’t get away with it…
( I do read charts if I have to, and know the basic chords)
J
So you are officially invited to join me with a summer long exploration of Rhythm guitar!
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Thank you Mick-7 for replying.I should have put my question in a clearer context.
Improvising like this means to play something that sounds like Freddie Green. A tenor line, weawing the harmony with the bass.Listening to these recordings, there seems to be plenty of freedom between these two, the bass providing most of the information.
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Best way to judge is from you posting a clip of what you do.
Thank you Mick-7 for replying.
I should have put my question in a clearer context.
Improvising like this means to play something that sounds like Freddie Green. A tenor line, weawing the harmony with the bass.Listening to these recordings, there seems to be plenty of freedom between these two, the bass providing most of the information.
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Mr. beaumont.
Thanks, I was hoping for an official invitation. :-)
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Welcome. Lots of posts about the tenor line coming up...I've made a lot of realizations after some more close Freddie listening.
Mr. beaumont.
Thanks, I was hoping for an official invitation. :-)
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Also, my next few posts will likely be text in nature...family in from out of town, and the prospects of having a semi quiet 5 minutes to make a video are as good as the White Sox's playoff chances.
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