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> Jazz Progression In C, Open for anyone
Saoirse O'Shea
post Aug 23 2007, 01:28 AM
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Thought I'd post a track that people might like to have a go at soloing over. It's a jazz progression in C major based on the common I VI II V I run. In this case the chords are CM7, Am9, Am7, Dm9, Dm7, G9, Dm6/9 (or G13 with no root), Bb9, Fm6/9 (Bb13 no root) and CM7. 4 bars of I, 4 of VI, 4 II and 2 of V plus 2 of I before it loops. First CM7 uses two different voicings of the M7th, one with the B as the upper note (as an Em triad over C bass) and one as the standard 8th position CM7. Standard 4/4 in 122 bpm.

For soloing - in jazz you follow the chord progression and accent the important notes of the chord or melody to pull out the harmonic progression. So try not to stay with one scale/arpeggio but experiment and see what works - look at Andrew's theory pages if you're not too sure.

Apologies I recorded straight in to the pc so the tone is flat and there are no effects/distortion - just a clean semi, fingerpicked. Level is low - tends to be how I record - I hate digital distortion. There are a couple of minor jumps where I had to pause whilst recording as my wife/daughter wanted immediate attention, hopefully they won't put you off. (I'm not great at 'drop in' recording.)

Last few bits -

a) Collaboration is open to any who want to have a go.
cool.gif Apologies as I don't have the time to mix your work so you will need to do a merged backing/solo track for up load if you want feedback. (Unless someone wants to volunteer to do the mix...)
c) Feedback - I'm a great believer in peer review so if you post then anyone can comment - so long as it's constructive smile.gif . Hopefully with peer review more of us might get actively involved in the collaboration smile.gif

Breaking news - I've twisted Andrew's arm (don't worry he can still play smile.gif ) and he has very kindly agreed to try to add drums and bass to the backing for me. What a nice man smile.gif .

The GMC file has Andrew's backing bass and drums added (thanks Andrew - you're a star).

Cheers,
Tony

This post has been edited by tonymiro: Sep 3 2007, 10:17 PM
Attached File(s)
Attached File  jazzprogression.mp3 ( 507.39K ) Number of downloads: 328
Attached File  GMC_Jazz_Collaboration.mp3 ( 607.79K ) Number of downloads: 232
 


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MickeM
post Aug 23 2007, 01:50 AM
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QUOTE (tonymiro @ Aug 23 2007, 02:28 AM) *
Thought I'd post a track that people might like to have a go at soloing over. It's a jazz progression in C major based on the common I VI II V I run. In this case the chords are CM7, Am9, Am7, Dm9, Dm7, G9, Dm6/9 (or G13 with no root), Bb9, Fm6/9 (Bb13 no root) and CM7. 4 bars of I, 4 of VI, 4 II and 2 of V plus 2 of II before it loops. First CM7 uses two different voicings of the M7th, one with the B as the upper note (as an Em triad over C bass) and one as the standard 8th position CM7. Standard 4/4 in 122 bpm.

For soloing - in jazz you follow the chord progression and accent the important notes of the chord or melody to pull out the harmonic progression. So try not to stay with one scale/arpeggio but experiment and see what works - look at Andrew's theory pages if you're not too sure.

Apologies I recorded straight in to the pc so the tone is flat and there are no effects/distortion - just a clean semi, fingerpicked. Level is low - tends to be how I record - I hate digital distortion. There are a couple of minor jumps where I had to pause whilst recording as my wife/daughter wanted immediate attention, hopefully they won't put you off. (I'm not great at 'drop in' recording.)

Last few bits -

a) Collaboration is open to any who want to have a go.
cool.gif Apologies as I don't have the time to mix your work so you will need to do a merged backing/solo track for up load if you want feedback. (Unless someone wants to volunteer to do the mix...)
c) Feedback - I'm a great believer in peer review so if you post then anyone can comment - so long as it's constructive smile.gif . Hopefully with peer review more of us might get actively involved in the collaboration smile.gif

Cheers,
Tony

When do you want it to be finished? Concidering I'm in two now already this would make three.
And I'm a complete beginner at jazz so I could use the extra time for that matter aswell. it's great opportunity for me to catch up on something new.


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Andrew Cockburn
post Aug 23 2007, 01:54 AM
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QUOTE (MickeM @ Aug 22 2007, 08:50 PM) *
When do you want it to be finished? Concidering I'm in two now already this would make three.
And I'm a complete beginner at jazz so I could use the extra time for that matter aswell. it's great opportunity for me to catch up on something new.


Same - I'd love to do this but will need a little while to work on it ...


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Saoirse O'Shea
post Aug 23 2007, 02:07 AM
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QUOTE (Francis Viviers @ Aug 22 2007, 11:43 AM) *
Okay so ive pimped my vintage strat. Now to move on to my ibanez.



What pickups would you guys reccommend i put in. This will turn into my metal/shredding guitar at some point.


No rush - I'm not thinking at the moment about a closing date that's soon so as to give as many a chance that want to have a go. I'll nominally set a close for XMas 2007 just so it isn't too open ended.

So just post when you have something you like guys.

Cheers,
Tony

Now how did Francis' Ibanez get there laugh.gif laugh.gif laugh.gif .

Cheers,
Tony


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MickeM
post Aug 23 2007, 02:31 AM
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Thanks mate, count me in!

Hmm, that picture has now become your signature and you can never get rid of it. :-D


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Saoirse O'Shea
post Aug 23 2007, 02:35 AM
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QUOTE (MickeM @ Aug 22 2007, 07:31 PM) *
Thanks mate, count me in!

Hmm, that picture has now become your signature and you can never get rid of it. :-D


Arrgh no! - I'll have to go off and live in a barrel in the dessert like the hermit (Diogenies?) as a penance to Gibson.

Cheers (and fond farewell as I look for a barrel),

Tony


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Andrew Cockburn
post Aug 23 2007, 02:49 AM
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QUOTE (tonymiro @ Aug 22 2007, 08:28 PM) *
Breaking news - I've twisted Andrew's arm (don't worry he can still play smile.gif ) and he has very kindly agreed to try to add drums and bass to the backing for me. What a nice man smile.gif .

Cheers,
Tony


It still stings a bit though ....

Ok, guys get practicing with Tony's version, and I'll record a new version over the next day or two to actually record to, and I will also mix a finished version on Tony's behalf ... he's got me running around after him, how'd he do that ???

This post has been edited by Andrew Cockburn: Aug 23 2007, 02:50 AM


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Ben Howell
post Aug 23 2007, 04:16 AM
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Im up for that ofcourse biggrin.gif

-Ben


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Saoirse O'Shea
post Aug 23 2007, 05:40 AM
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Nice one Ben smile.gif .

And thanks again Andrew - appreciated.

It must be my winning personality - or the Chinese Burn I applied to your forearm tongue.gif . Now can you help me build a house by any chance?

Cheers,
Tony

ps yet again GMC proves itself to be such a great community!


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Andrew Cockburn
post Aug 23 2007, 05:49 AM
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QUOTE (tonymiro @ Aug 23 2007, 12:40 AM) *
Now can you help me build a house by any chance?


If you'd seenmy attempts to figure out how to build a case for my amp at the weekend you wouldn't ask that question biggrin.gif Lets just say wonky and leave it at that ...


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Live long and prosper ...

My Stuff:

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Effects : Line6 Helix, Keeley Modded Boss DS1, Keeley Modded Boss BD2, Keeley 4 knob compressor, Keeley OxBlood
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Saoirse O'Shea
post Aug 23 2007, 07:12 AM
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laugh.gif
Our builders gave us 1 week's grace to produce scale drawings after their architect quit the job - baptism of fire
blink.gif .

Not sure why we now have a 2 foot high door and a toilet only a giant could use though rolleyes.gif .

Cheers,
Tony


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Robin
post Aug 23 2007, 09:18 PM
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Is there room for me?

I'm not really a jazz player, so I suppose it will sound very bluesy smile.gif I have been playing Take Five, so I have some ideas how to make it more jazzy.

Edit: Nevermind, I'm not good enough to do this yet tongue.gif

This post has been edited by Robin: Aug 23 2007, 09:27 PM


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Saoirse O'Shea
post Aug 24 2007, 03:52 AM
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Have a go anyway Robin if you want - can't hurt biggrin.gif . Robben Ford - a great player of the blues does lovely stuff by incorporating jazz ideas.

Cheers,
Tony


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Ben Howell
post Aug 24 2007, 03:55 AM
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QUOTE (Robin @ Aug 23 2007, 09:18 PM) *
Is there room for me?

I'm not really a jazz player, so I suppose it will sound very bluesy smile.gif I have been playing Take Five, so I have some ideas how to make it more jazzy.

Edit: Nevermind, I'm not good enough to do this yet tongue.gif



Indeed Tony.

Try it Robin, you might enjoy it? biggrin.gif

-Ben


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Robin
post Aug 24 2007, 07:15 AM
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Hmm, well if theres room I guess I can give it a try smile.gif

But I do need some pointers of what scales I can use over wich chords. Maybe I should read Andrews theory lesson about it?


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Saoirse O'Shea
post Aug 24 2007, 09:43 AM
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Hi Robin,
Andrew's theory is a great place to start.

One possibility is to look at it modally and as it's principally in C Major you might want to check the relevant modes for the particular chords in the progression. To jazz it up here look at the melodic and harmonic minor modes and pentatonic subs as well. Don't aim at playing the entire mode over a chord, pick out key tones and maybe consider sequencing the mode. (Most chords have 4 bars so there is time to do this if you want to...)

Apart from modal playing a few other things maybe worth looking at but not necessary for a good solo include (although I'm going to ask questions as well for people to think about smile.gif ):

Chord voicings - With extended chords would you play notes that emphasise the root, 3rd, 5th or the extension or what. Also similar/same chords that are inverted. First few bars are CM7 but the top note moves between G(5th of C) and B (7th) do you make something of this or not? Do you want to leave space in your solo, if at all, so that this can be heard?

Arpeggios - consider the arps for CM7 etc. and perhaps use them to sequence or emphasise the key tonalities of the chords.

Harmonic progression. In the chord progression there are also certain notes that move and some that stay static over more than one chord. How do notes move and why? What are the intervals involved in the movements?

Chord names - most of these chords have several names. Changing the name can get you to think about the progression, what mode/scale and so on to use differently. For instance the m6/9s towards the end can also be named as different extended dominant chords and also as m7b5s. These imply (to me) different modal possibilites and different arps as well as different possible directions that the chord progression could move in.

Polytonal chords/stacked triads. Some of the chords can be thought of this way (for instance the M7s and the m9s). What are the two triads in each case and how can that give you a different take on the solo?

Possible modulations (key changes) - the progression pretty much remains in C Major but towards the end there are a couple of modulations that are implied but not executed (mainly as a dominant 7th cycle through implied II V I modulations). I resolved it to CM7 to keep things simple but bars 15 and 16 could have modulated...

'Outside' playing - what chromatics/passing tones can be used? What notes lie outside the scalar or modality suggested and how might you use them?

As ever think about phrasing and articulation - legato and alt picking maybe more than sweep (though Gambale fans might argue otherwise laugh.gif ). With the high notes in some of the chords think about space and silence. It's not how fast or how many notes that count here as to which notes you use and which you leave out/suggest.

Don't worry or be put off if that's too much theory to take in - you can get a lot of the above right by playing with feel and listening to the progression and playing what you find works. You also don't need to use all of it - or even any of it. Loads of players don't do polytonal chord theory consciously and are none the worse for it (and I'm not even going to start on what D Torn calls scalar interpolation blink.gif maybe overly theoretical blink.gif ).

Theory just explains things and maybe suggests different approaches (hides in case Andrew hears me say that laugh.gif ). The main thing is be musical and let your ears guide you. Don't be afraid to experiment and try things out - there's time enough.

Main/most important bit though is to have fun.

Cheers,
Tony


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Saoirse O'Shea
post Aug 24 2007, 09:57 AM
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Sorry btw for such a long post Robin. Not sure where you stand theory wise so I thought I'd try to cover something for most people.

Cheers,
Tony


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Andrew Cockburn
post Aug 24 2007, 10:48 AM
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QUOTE (tonymiro @ Aug 24 2007, 04:43 AM) *
Theory just explains things and maybe suggests different approaches (hides in case Andrew hears me say that laugh.gif ).


Who said that ?????

Actually, I quite agree - I have gone on record many times as saying most theory is justification for what sounds cool, and that is the final arbiter, not the theory itself. If you make something up that sounds great but breaks all the rules of theory ... well, we'll just invent some new theory to cover it smile.gif

"A wise man knows the limits of his craft" - sounds like confucious could have said that, but I just made it up smile.gif

BTW, the backing track will be another day or so - I had mouse failure this evening and got nothing done sad.gif

This post has been edited by Andrew Cockburn: Aug 24 2007, 10:48 AM


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AudunESP
post Aug 24 2007, 11:55 PM
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let me guess, im late again? laugh.gif
if its place for me, ill give it a try smile.gif
edit- oops overlooked something, ill give it a try

This post has been edited by AudunESP: Aug 24 2007, 11:56 PM


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Scales = some boring stuff thats totally unnescesary to create cool music, liek, if ur stupid.
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Saoirse O'Shea
post Aug 25 2007, 12:09 AM
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Of course you're in AudunESP biggrin.gif . Look forward to the contribution mate.

Cheers,
Tony


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