#1
Hey UG! I'm currently in a small pit orchestra doing the show Anything Goes. I'm trying to go through the book but I keep coming across these really odd chords. I did a couple of shows before this one (42nd Street, How To Succeed, etc.) but it looks like this book is the hardest one yet! A lot of the music is moving so fast and I have to change chords every beat for the most part

I'm looking for some advice on how to approach some of these chords. I think I'm pretty familiar with most of them but I see a lot of dim(maj7) and chords like C#dim7/D. The weirdest one I found was Abminmaj7(b5)/Cb . Any advice would be appreciated!
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#2
Whenever Ive been put in these situations before I've figured out two or three note voicings of the "weird" chords and played those "shapes" to cover them. Half the time I end up memorising the songs as a series of patterns rather than reading the chord sheets, looking at the chords and figuring out what I should play.

I know traditionalists would probably scream at me, but that's one way of "faking it".
And no, Guitar Hero will not help. Even on expert. Really.
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#3
coming from someone with a lot of experience playing jazz guitar....
you actually dont want to play every note in those chords. between the bass player, the piano player, and the voicings of the singers, the notes will be covered. find simple 3 or 4 string voicings that work, and practice those sections.
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#4
Ok thanks for the advice guys! I think keeping my voicings small and omitting notes would be the best idea for me. I just gotta practice!
And he who forgets, will be destined to remember...
- Pearl Jam
Our minds will never erase, all those fears and doubts we face
- Difficult
#5
Quote by Asian_Sensation
Hey UG! I'm currently in a small pit orchestra doing the show Anything Goes. I'm trying to go through the book but I keep coming across these really odd chords. I did a couple of shows before this one (42nd Street, How To Succeed, etc.) but it looks like this book is the hardest one yet! A lot of the music is moving so fast and I have to change chords every beat for the most part

I'm looking for some advice on how to approach some of these chords. I think I'm pretty familiar with most of them but I see a lot of dim(maj7) and chords like C#dim7/D. The weirdest one I found was Abminmaj7(b5)/Cb . Any advice would be appreciated!


Here's what I'd suggest:

Do a 3 note version of the C#dim7 - Leave the root out, and leave D for the bass player.

So you have E G Bb

Your FULL C#dim7 is:

C# E G Bb - as you can see I got rid of the root, in the 3 note suggestion, because in an ensemble, someone's covering it. If you know your chords, and how to identify anything simply by the notes in a chord, you might also recognize this 3 note group as identical to an E dim triad (triad, not a Dim7). This simplifies the way of conceptualizing what to play.

Abminmaj7(b5)/Cb is going to be Rootless, and play Cb (B) Ebb (D) and G - If you think the Bass has the Cb (B is enharmonic) then play a Ebb (D) and G.

So, that chord is Ab Cb Ebb and G - The bass most likely has the Cb, but as you see this is a 1st inversion (the b3 is the note in the bass). (Ebb is enharmonically similar to D)

Best,

Sean
Last edited by Sean0913 at Mar 19, 2014,
#6
I did a pocket version of that show a while ago, playing the bass, and the guitar player did what Alan, Chea and Sean are saying: he played mostly 3-note chords, creating more of an interesting rhythm, and leaving the other notes for the singers, piano, bass, etc. He tried to find interesting voicings to which he could apply simple voice-leading to keep it interesting and to help deal with the fast changes.

EDIT: If the pit orchestra you are playing also has horns and/or woodwinds, or more than one keyboard/piano, you can probably even get away with 2-note stabs, focusing on rhythm
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Last edited by mrkeka at Mar 21, 2014,