elvenkindje
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Join date: Jun 2005
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#1
It's been a while.. Today's standard of the month will be Autumn Leaves. Like Blue Bossa, it was one of the first standards I've learned and I use it to warm up my fingers when I grab the guitar. The changes:

|: A-7     | D7     | Gmaj7   | Cmaj7   |
|  F#m7b5  |*B7     | E-7     | E-7    :|
           |*² B7   | E-7     | E-7     |
| F#m7b5   | B7b9   | E-7     | E-7     |
| A-7      | D7     | Gmaj7   | Gmaj7   |
| F#m7b5   | B7b9   | E-7 A7  | D-7 G7  |
| F#m7b5   | B7b9   | E-7     | E-7     |


Largely diatonic eh? I'll try to keep my analysis diatonic, because people have lost it a bit at my previous SotM.

It starts off with a ii - V - I - IV in the key of G. You should obviously play modes of the G major scale over the chords. A Dorian over A-7, D Mixolydian over D7, G Ionian over Gmaj7 and C Lydian over Cmaj7.

The next four bars are a bit trickier. It's a iim7b5 - V7 - i in the key of E Minor. Over the first chord, you can play F# Locrian (or F# locrian with a natural 2, because the 2 sounds lovely. You have to pay attention that you stop playing that note when the E- chord is there, because the 2 of F# is a G# and that clashes with E-)
The B7 chord comes from E harmonic minor. It's used to resolve better to the tonic chord. Over V7 chords in minor keys, you should play Phrygian Dominant (1 b2 3 4 5 b6 b7), so B Phrygian Dominant now. Over E-7, just play E Aeolian for now.

Next four bars, the iim7b5 - V7b9 - i in E minor again. After that, the ii - V - I in G. You know what to play.

F#m7b5 - B7b9 - E-7. This is the iim7b5 -V7 - i in E minor again, but the E-7 chord is used for something different now. It also functions as a ii chord!

E-7 A7 is a ii - V progression in the key of D major, so we play modes of that scale over these chords. Over E-7, we play E Dorian. Over A7, we play A Mixolydian. A7 resolves to D-7, making D-7 the i chord again. But as in the previous bar, the chord also functions as a ii chord.

D-7 G7 is a ii - V progression in the key of C major, so we play modes of that scale over these chords. Over D-7, we play D Dorian. Over G7, we play G Mixolydian.

G7 resolves to F#m7b5 (just take my word for it, I'll explain if anyone asks) and F#m7b5 - B7 - Em is something we already encountered.


Nice ideas:
- Instead of E Aeolian over the E- chords, play E dorian. I'd say it sounds better and most jazz guys do. Maybe even try Phrygian to see how you like it.
- Instead of G Ionian over the Gmaj7 chords, play G Lydian. The #4 in Lydian doesn't clash with the 3, like the 4 (from Ionian) does.
- Try tritone substitution for the dominant chords. If you don't get this, look at the MT Sticky FAQ.
- Chord tones, chord tones, chord tones. Play a lick, and it on a chord tone. When playing a lick over multiple chords, make sure to start the new bar off with a chord tone. You can diverse from this strat, but it's best to learn it this way for beginners.
- Play E minor pentatonic over the whole thing
- Play A minor pentatonic over the whole thing
- Play B minor pentatonic over the whole thing
- Over the E-7 A7 - D-7 G7 part... Play a lick over E-7 A7 and than play it two frets lower, so you have the same lick, but transposed to fit the new chords.

Just made a quick recording: http://guitarmark.dmusic.com/

I think that about sums it up. Any questions/additions? Feel free to post your recordings/comments/compliments/flames etc.

Mark
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Last edited by elvenkindje at Aug 1, 2007,
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#2
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VR2005
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#4
^Posting my link I see.
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VR2005
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#6
Oh haha! I've been over on that forum for the past 3 years and haven't seen a UGer so I assumed since I posted it here like twice a couple months ago somebody used it. Also, yes Jake Hanlon's music kicks ass, if you haven't heard any of his playing.
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Zeppelin256
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#7
Some pretty nice ideas in the write-up, elven. But your backing track is in the key of A minor, not E minor. However, you're playing over the changes as if they were in E minor.

EDIT: Actually it's in G minor. That's what I get for trying to figure out the key by ear.
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Last edited by Zeppelin256 at Aug 1, 2007,
elvenkindje
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#8
^Eh?

First chord is Aminor, maybe you mean that? I can't hear anything wrong with it anyway.
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#9
Quote by elvenkindje
^Eh?

First chord is Aminor, maybe you mean that? I can't hear anything wrong with it anyway.


No, I mean the key of the backing track is G minor. The first chord is a Cm. It could just be me, but I'm sure that that backing track is not in E minor.
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thats about south africa tho...which isnt poor at all.
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elvenkindje
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#10
I've tried it out.. And both Em and Gm sound right over it. Have tried out chords and soloing over it with Em and Gm as key.

I've pmed Resi, he gave me the backing so he should know with his jazzness.
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#11
Well, it's not really a matter of what sounds right or wrong. I mean, I'm in no place to tell you what sounds good or bad - everybody has his own opinion and that's perfectly acceptable. But I can tell you right now that the BT you used is in Bb Major, G Minor. The first 4 bars are Cm7-F7 Bbmaj7-Ebmaj7, etc.
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thats about south africa tho...which isnt poor at all.
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kirbyrocknroll
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#12
Thanks, Mark!

EDIT: Resi or Mark, if you still have the backing track, can you please send it to me if you have the time?
Last edited by kirbyrocknroll at Aug 1, 2007,
elvenkindje
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#13
^Sure thing bud, just tell me your email address again. I might already have it, but I can't find you in my msn list now.

Just beware, the ****ty thing's in G minor after all >.<

Edit: At least my weird ponytonal stuff doesn't sound bad, I might keep playing it that way to make the bass players go nuts. OR when I'm playing the melody together with a horn player, I might do it like this, haha, what would the effect be! Constant minor thirds below/major sixths above his line
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#15
i remember going over this with my teacher, he said that part of it was one of those renewing V-I progressions, i havent looked over the entire thing yet, so you mighta mentioned it
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#16
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Peanut1614
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#17
Quote by elvenkindje


G7 resolves to F#m7b5 (just take my word for it, I'll explain if anyone asks)


Explainy please
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Go to your staff paper and re-write this song a half step down so on the paper it'll be like you have a "C" just move it down to a "B#"




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mdwallin
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#18
man i love those evil half diminished chords that take so long to figure out how to play.
In the AMEB grade 1 contempory guitar book it has 2 different half diminished chords in Autumn Leaves If i remeber correctly...
i tink one of 'em is a C or C# it really does depend on what key ur playin it iin though
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#19
Quote by Peanut1614
Explainy please


F#m7b5 can be used in place of a C chord (tritone substitution), and G7 would be the V of C?

I guess that's what he's getting at?
kirbyrocknroll
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#20
Yeah, I think so.

G7 - C F#m7b5 subs for C. So it's G7 - F#m7b5.
Last edited by kirbyrocknroll at Sep 4, 2007,
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#21
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F#m7b5 can be used in place of a C chord (tritone substitution), and G7 would be the V of C?

I guess that's what he's getting at?


I dunno if tritone sub is the right word, but I think it's the idea. You still get the B -> C and F -> E resolutions, and G resolves to F#, perhaps. I guess it could be thought of as an incomplete C(maj)13 #11 or something, but it's called F#m7b5 because it's functioning as a ii in a minor ii-V-i. That's me guess.
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elvenkindje
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#22
That's about it yeah. Multiple explanations for it, but F#m7b5 (sub for C) is a good one, plus the standard resolution for a chord etc.
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roksta101
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#23
i like dis song...tn 4 the tips on what scales to use over the song..nyc for improv...
...do u guys think this ong is better suited for classical guitar or a electric jazz?..or doesnt it matter...
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#24
Rofl at how complex this song can be, haha.

When I learned it in Guitar class at school, it was 90% open chords, with just a few maj7ths here and there. Good song though.
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#25
Quote by Instrumetal
Rofl at how complex this song can be, haha.

When I learned it in Guitar class at school, it was 90% open chords, with just a few maj7ths here and there. Good song though.


But did you improvised on this?
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