I've been working with the study and found it very helpful with the first part of the piece. Really like the soft nature and Latin rythem as offered. Problem is the second part of the tune, which would be where most will free style (solo), is not covered. The original score calls for the chord progression of Cm - A7#9 - Dm7b5 - G7#5(#9).
Starting with Cm as played in the study, what configuration or form for the A7#9 is most commonly played? The versions I know sound terrible when used in combination with the rest of the sequence.
I admit to being an old rock n roller and as such the nuances of Jazz progression is still all new to me. any help would be greatly appreciated.
Hey Al B,
I hope more experienced folks will chime in on your question. My only comment is that I've always seen the chord progression as it's laid out in the lesson, with Fm7, as opposed to your A7#9.
You mention the A7#9 comes from the "original score"? Do you mean original sheet music? Or the original record, perhaps? I think it was first on Joe Henderson's Page One, right? I'll have to listen to that, but I'd always thought of it as an Fm7.
The A7#9 is is from Kenny Dorham's (sp?) sheet music. It appears at measures 18 and 22. The way the piece is arranged on my copy, measures 1 thru 16 are played twice with the solo intro, then measures 17 thru 24 where the chord changes as I listed are played thru twice. Playing A7#9 as I know it sounds akin to nails on a chalk board or like the thud of a flat tire in the middle of an otherwise smooth chord run.
1 thru 16 are what is shown on the study lesson above. The study differs from what I have by using m9's and playing Fm9 thru measure 4 instead of dropping to Bb7. As i said the m9 change makes for a softer overall tone and dropping out the Bb7 makes the transition from Fm9 down to Dm7b5 - G7#5(#9) a lot nicer as well.
Woland,
I'm not sure if you were answering my question, but what you are refering to is in the the first 16 measures at measure 10/11, yes?
That's interesting, Al Br. I'd never seen any published sheet music for the tune, as I imagine most folks have not. The Real Book, which we should all take with a grain of salt, shows the same chords for the head and the solos--just Fm7. I'm listening to the record now. Because the comping is so sparse, it's hard to hear exactly what's going on, but it may be right that at least the bass is playing some flavor of A there, instead of Fm. I don't hear it in the piano, but that's just on headphones at work without an instrument to check.
Tried to get a copy of the page here but the system is bogging down. The publisher is Second Floor Music, copyright1965, re-issue 1993. I will try again later to post a copy of the sheet.
I've looked around a bit and could not find this version anywhere else either, go figure, so like everyone else I will work around it. The score as I have it was what my music teacher gave me to work from. May have to wait till next session for an explanation. Was hoping to nail it before the next class.
To me, those last nine bars look like a coda--an ending you would play only at the end of the tune, after everyone has soloed and the band has played the head again. The A7 serves to lead into the Dm7b5.
Last edited by dingusmingus; 09-24-2014 at 10:19 AM.
That section of the tune is the coda, so you would only play that after the entire tune has been played, melody-solos-melody, and to be honest I've never heard anyone use that section on any gig, they mostly just play the last four bars as a tag.
If you wanted to play that section, I like these chord shapes there to check out.
x12-11-12-13-x
or
xx5668 (A7b9b13)
Both have a nice sound to them and are relatively easy to play on the guitar.
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Here is the sheet music as I have it. Look familiar?
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