Master Of All Arrangements 1s4s5c

  s t n e m e g n a Arr   e h t   r fo t s i r a t i u G   z Jaz

By  John W. Rieme r 

Jazz Guitar Arrangements Vol. 1 By John Riemer Eight arrangements with chord diagrams, tabbed melodies, chord melodies, and commentaries to help you navigate through tonal centers.

All Blues All the Things You Are Autumn Leaves Four on Six Georgia on My Mind Killer Joe Satin Doll Take Five

All Blues

G13 C13 D7#9

Ab13 Db13 Eb7#9

This tune attributed to Miles Davis is a standard among jazzers, sometimes overplayed. This version was inspired by Kenny Burrell with a sparse harmony maintained as the melody is added as an upper voice. I have found some accompaniment variations to work well using devices such as “sideslip harmony” and tritones. Because of the workhorse nature of this tune, you will be looking for variations in playing accompaniment because you will be certain to play 30 choruses as the sax player works out. Following is a simple variation G13 Ab13 G13 Ab13 G13 Db13 C13 Gb13 G13 Ab13 G13 E13 D7#9 D7 G13 Ab13 G13 Ab13

All the Things You Are The classic by Hammerstein and Kern always provides a challenge to the guitar player by virtue of its many tonal centers and great melody. To bring these elements together requires some fingerboard gymnastics and planning. Improvising over the melody is easier when you have a good grasp of what the tonal centers are and the use of transitions from tonal center to tonal center. In this phrase the tonal centers are determined by the dominant 7th chords. They “point” to the tonal center.

...

Tonal center=Ab The Eb7 is the 5th of Ab

Tonal Center is C Determined by the G7

I have found it works better to start the new tonal center (C) at the 5th measure, treating the Db maj 7 as a substitute 2 chord (Dm7) in the key of C. The tension created by playing the C tonal center over the Db maj7 is an interesting transition. In the final analysis the tonal centers each occupy 4 measures as shown below.

Ab

C

Following pages are lead sheet, analysis,and chord melody. Good luck!

All the Things You Are: Analysis_Tonal Centers First 8 measure phrase Chord Changes

Chord relationship (mode) of Tonal centers Use these scales

Fm7

Bbm7

Eb7

Abmaj7

Dbmaj7

G7

Cmaj7

Cmaj7

6 of Ab Aeolian

2 of Ab Dorian

5 of Ab Mixolydian

1 of Ab Ionian

4 of Ab Lydian or Alternate Dorian 2 of C

5 of C Mixolydian

1 of C Ionian

I of C Ionian

Second 8 measure phrase Chord Changes

Chord relationship (mode) of Tonal centers Use these scales

Cm7

Fm7

Bb7

Eb maj7

Ab maj7

D7

G maj7

G maj7

6 of Eb Aeolian

2 of Eb Dorian

5 of Eb Mixolydian

1 of Eb Ionian

4 of EbLydian or Alternate Dorian 2 of G

5 of G Mixolydian

1 of G Ionian

I of G Ionian

Third 8 measure phrase Chord Changes

Chord relationship (mode) of Tonal centers Use these scales

Am7

D7

G maj7

G maj7

F# m7

B7

E maj7

C7#5

2 of G Dorian

5 of G Mixolydian

1 of G Ionian

1 of G Ionian

2 of E Dorian

5 of E Mixolydian

1 of E Ionian

5 of relative minor: F minor (Ab is parent key) Ab played from C to C

Fourth 8 measure phrase Chord Changes Chord relationship (mode) of Tonal centers Use these scales

Fm7

Bbm7

Eb7

Abmaj7

Db maj7

6 of Ab Aeolian

2 of Ab Dorian

5 of Ab Mixolydian

1 of Ab Ionian

4 of AbLydian or Alternate Dorian 2 of C

Dbm7 2 of C Mixolydian or Alt 2 of Ab

Last 4 measures (This is what makes this tune different-extra 4 measures) Chord Changes Chord relationship (mode) of Tonal centers Use these scales

Bbm7 2 of Ab Dorian

Eb7 5 of Ab Mixolydian

Ab maj7 1 of Ab Ionian

Ab maj7 1 of Ab Ionian

Ab maj7 1 of Ab Ionian

E7#9 5 of A Ionian

Autumn Leaves This tune is considered by many as an overplayed standard. It can be! I choose to look at it as a test for all of my guitar students as it has all of the elements that should be known and under control. The structure is pretty straight forward; A-A-B-C. The tonal centers shift between G major and the relative minor, E minor in which the D of the G major scale is replaced with D# as the leading tone to Eminor.

Analysis A section Chords

Am7

D7

Gmaj7

Cmaj7

F#m7

B7

Em

E7

Analysis

2 chord of G major

5 chord of G major

1 chord of G major

4 chord of G major

2 chord of E minor

5 chord of E minor

1 chord of E minor

5 of A minor Emphasis on G#

2nd A section

D# replaces D

D# replaces D

D# replaces D

Chords

Am7

D7

Gmaj7

Cmaj7

F#m7

B7

Em

Em

Analysis

2 chord of G major

5 chord of G major

1 chord of G major

4 chord of G major

2 chord of E minor

5 chord of E minor

1 chord of E minor

Em

D# replaces D

D# replaces D

D# replaces D

B section Chords F#m7 B7 Em Em Am7 D7 G maj7 G maj7 Analysis 2 chord 5 chord 1 chord 1 chord 2 chord 5 chord 1 chord 1 chord of of of of of G of G of G of G Eminor Eminor Eminor Eminor A section Chords F#m7 B7 Analysis 2 chord 5 chord of of Eminor Eminor

Em/A7 2/5 of D major

Dm7/G7 Cmaj7 2/5 of 1 of C C major

B9 5 of Em

Em 1 of Em

Em 1 of Em

“Four on Six” by Wes Montgomery This is a tabbed lead sheet version of one of Wes’ great tunes found on “The Incredible Jazz Guitar of Wes Montgomery” Listen to it before playing to get a feel of where the chords are placed. I saw Wes play this tune on several occasions and to the best of my recollection I believe he played it where I have it in the tablature. This tuned evolved throughout his career and this is based on an early version.

Georgia on My Mind Hoagy Carmichael wrote it, everybody from Ray Charles to Willie Nelson has sung it; it is a standard that works well on guitar. This version is a medium difficulty chord melody. The chords above the melody line are voiced to blend well in a combo situation. The chord melody can be freely interpreted by play the upper note of any chord you find you need to omit. Improvising over the changes is conventional, i.e.; determine the tonal center by locating dominant 7th chords; these chords are the 5th of the tonal center (the scale you use). Emphasizing the 3rds of the dominant 7th chords will help bring out some of the more subtle harmony shifts.

Example; 1st four measures F maj7 Tonal center=F

Em7-5 A7-9 Tonal center=Dm

Emphasis F-A-C-E

Emphasis on C#

Dm7 Tonal Center C Dorian mode Emphasis on D-F-A-C

G7 Tonal Center C Emphasis =B

Take Five-Paul Desmond A jazz standard, Take Five has a freshness that is still appealing to many players. It presents challenges for guitarist both rhythmically and harmonically. Six flats is usually not play frequently by most guitarists. Thinking in the Eb minor pentatonic mode is okay for improvi to a point but it doesn’t work well for the chromatically embellished melody. I put the opening melody statement in the 8th position because it minimizes movement and puts you on strings that speak well. One of my favorite versions of this tune is done by George Benson with a fellow Chicagoan on rhythm guitar, Phil Upchurch. For me, Phil’s rhythm is what makes this tune come to life.

Following is an excerpt of what Phil might have been playing.

“Killer Joe” by Benny Golson This tune is often played minus the bridge by some players; it is easy to cover the A section but it takes a little digging in to get the bridge right. I was inspired to revisit this tune after watching a Tom Hank’s movie entitled “Terminal”. The Hank’s character was on a mission to obtain the autograph of Benny Golson. The final scene has Benny Golson playing this tune, a worthwhile wading through a pretty entertaining movie to see Benny playing his tune. The bridge has a melody made up of alternate half and whole steps. This scale is now referred to as the “1+2” scale. Another reference is “Diminished scale” if you use the whole step first and call it by the first note. This is the scale with reference to C. It also could be called by any note that is followed by a half step.

Satin Doll Duke Ellington Duke’s timeless classic is a great tune to start out on because of the easy to groove melody, the clearly stated tonal centers and it lays well on the guitar. The structure is textbook A A B A. Each section is a six measure statement with a two measure turnaround. Here is the first 4 measure phrase:

Tonal centers for improv: C major emphasis C major emphasis D major emphasis D major emphasis on D (Dorian) on D (Dorian) on E (Dorian) on E (Dorian) This is generally how tonal centers are determined; the Dominant 7th- (G7) is the 5th of the tonal center. G7 is the 5th of C, use C scale for source of scales, emphasize D to generate the Dorian mode.

The analysis of the tune is as follows; A section Chords Dm/G7 Tonal C Centers B section Chords Gm/C7 Tonal F Centers

Dm/G7

Em/A7

Em/A7

Am/D7

C

D

D

G

Gm/C7

Fmaj7

Fmaj7

Am/D7

Am/D7

G

G

F

F

F

Abm/Db7 C

Gb

C

C

G

C

G7+5

G

C

Jazz Guitar Arrangements Part 2 • • • • • • • •

Cherokee Chitlin's con Carne Giant Steps Goodbye Porkpie Hat Green Dolphin Street Impressions ‘Round Midnight Skydive

Eight arrangements with chord diagrams, tabbed melodies, chord melodies, commentaries to help you navigate through tonal centers.

Cherokee This tune is usually played at breakneck speed or faster. The half and whole note melody seems to bring out the tendency to play it fast. I am presenting it here as a moderate tempo chord melody. The tonal centers move in a challenging fashion Here is the “A” section in tonal center notation. Bb Bb

Bb Bb

Eb F

Eb F

Eb Bb

Eb C

Db Bb

Db F Whole tone

The “B” section” B G

B G

B G

B G

A F

A F

A Bb

Bb

This tune is a good vehicle to practice “streaming scales” against the shifting tonal centers. That is to say play scales with no regard to modes, accents, syncopation, etc, just run even eighth note scales from the root as written on the following example.

Scale streaming

Chitlin’s Con Carne This is one of Kenny Burrell’s understated blues heads that every guitarist should learn. Stevie Ray Vaughn paid homage to Kenny by covering this tune in a virtually note for note rendition. It is basically a 12 bar blues using an interesting combination of C7#9 to F7 voicings in two s.

Giant Steps This masterwork by John Coltrane is an especially difficult tune for most guitarists because of the unusual movements through its tonal centers. The phrasing presents an additional challenge. Understanding the big picture of the tune will enable you to approach many other tunes and incorporate some of the devices used in this tune. It is generally rumored that Coltrane studied a book by Nicolas Slonimsky, “Thesaurus of Scales and Patterns” (Macmillan Publishers). Included in the studies of the book are patterns and harmonies that are created by dividing the octave or octaves into equal parts. One such exercise Slonimsky calls a “Quadritone Progression” which is the equal division of two octaves into three parts.

Here it is in the key that Giants Steps is in;

It seems Coltrane took these pitches as tonal centers and proceeded the I chords with V7 or II/V7. Following is an analysis of the tonal centers.

Goodbye Pork Pie Hat by Charles Mingus Perhaps the most often played composition of Mingus; Goodbye Pork Pie Hat is a great workout as a chord melody for guitar. This tribute to Lester Young is basically a blues with the melody statement using the minor pentatonic scale. Originally written in Eb, it is presented here in Ab allowing better voicing for guitar. Below are the changes that are used for soloing .

Tabbed version in first position on following page

Green Dolphin Street It would be safe to say that most jazz artists have played this tune more than once. It is a jazz standard that has stood the test of time. Frequently the A section is played in a Latin rhythm and the B and C sections are played in swing. I have included a study using pentatonic scales against the chord changes as well as chord melody and alternate (pedal tone changes) for the A section.

This version uses accompaniment chords that have a pedal tone "C" in the bass for the first 8 measures

Impressions

J

ohn Coltrane

This tune is a good example of the modal approach that was spearheaded by Miles Davis and John Coltrane. The difficulty for the guitarist is generally playing accompaniment. Many players coming from the rock school of blowing pentatonic licks over the changes have no difficulty when playing over this tune though it might be humdrum for the listener. I feel the real skill in playing over modal changes is to make implied shifts in the harmony. In other words, make it sound like there are many changes. When playing chord accompaniment this is especially effective. Some of the devices that may be used are; ™ Chord extensions ™ Chord alterations ™ Two/Five substitute ™ Tritone substitution ™ Sequences implied by super arpeggio

The following page addresses some of the typical alterations that might be used.

Chord Substitutions in Modal Songs

Songs in the modal style such as “Impressions”, “So What”, and “Milestones” present a problem in playing accompaniment. The sparse harmonic structure leaves you searching for things to fill the time. Extended chords, the harmonized scale, and chord series can provide some of the foundation for a fuller accompaniment.

The extended chord series is simply adding the scale tones above the chord root as in this series; Dm, Dm7, Dm9, Dm11, Dm13. The harmonized scale series is founded on the major scale serving as roots to chords. The chords are stacks of thirds that are unaltered scale tones. The simple way to view this is as a scale with thirds stacked on each note (Every other note of the scale is a series of thirds) G A B C D E F G E F G A B C D E C D E F G A B C This process forms these chords. C major D minor Eminor F major

G major

A minor

Bminor(b5) C major

This part of the order is a good start for substitution chords.

A chord series is any sequence of chords played in regular intervals such as fourths. Playing a series is a powerful tool for substitution work. The above harmonized scale substitution combined with a series of fourths makes an interesting substitution over a one chord scenario. Original chord progression is; Dm Dm Dm Dm Dm Dm Dm Dm Substitution is; Dm7 Em7 Fmaj7 Bbmaj7 Ebmaj7 Abmaj7 Dbmaj7 Dmi7

‘Round Midnight Thelonious Sphere Monk’s moody ballad makes a great vehicle for the jazz guitarist. Plenty of two five changes, opportunities to play melodic octaves, well developed themes in verse, chorus, bridge and coda. It is a great tune to showcase your talent. Included in this version is the introduction as well as the coda. The form; Intro (8 measures) A (8 measures) A (8 measures) B (8 measures) A (8 measures) Coda (8 measures) The chord melody I have written was influenced by many sources while trying to keep it simple. One of my favorite renditions is by Kenny Burrell on the album named “Round Midnight”. He goes right to the head with no intro but does play the coda. Wes Montgomery on the “Wes Montgomery Trio” album adds his own intro and coda. He displays his dynamic approach to soloing by starting with single notes, moves to octaves, and rounds out the solo with a beautiful chord solo. These are only two of the many versions of this tune that bear close listening as you develop your own interpretation.

Sky Dive F

reddie Hubbard

This tune written by the trumpet great, Freddie Hubbard, is not the standard fair for most guitarists but I find it a great vehicle for using pentatonics. Freddie is a great writer as well as trumpet player. His use of pentatonics is a great study to help get the guitarist out of the usual pentatonic ruts. Following is an analysis in major pentatonic scales in relationship to some of the accompaniment chords. Chord Gmi9 Ab maj7 Bbm7/Eb9 Ami7/Cmaj7 Cmi7/F7 Major Bb major Abmajor Db Major Pentatonic Pentatonic Pentatonic Pentatonic Scale Following is a review of pentatonic fingerings.

C Major Pentatonic

Eb Major Pentatonic

These are shown in F minor also referred to as Ab major

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Blue in Green Attributed to Miles Davis and Bill Evans “Blue in Green” represents a harmonic challenge for most guitarists. For me it is 10 of the most harmonically thought provoking measures you might play. The rendition on “Kind of Blue” should stimulate your thinking about slow tempos.

A possible analysis of first phrase is: Bb = IV of Key (F)

A7=III dominant

Dm=VI

Cm =II of next tonal center

This is what might be assumed on first glance. It doesn’t help much when trying to develop tension and release cycles.

Analysis continues:

Following is another view that prepares the rise and fall of tension a little better Bb=alt II of Dm

Bb=alt II of Dm

A7-V of Dm

A7-V of Dm

Dm=I of tonal center(D minor)

Dm=I of tonal center(D minor)

E7 Backcycle of Am (pseudo II)

Cm = acts asII of Dm tonal center

Am acting as V of Dm

Dm =I

Norwegian Wood A Beatles classic; now a jazz standard Herbie Hancock’s Album entitled “The New Standard” had revisited this Beatle’s tune and brought new life to it. This arrangement evolves through a few versions as inspired by Herbie’s rendition. The harmonies are “dark” compared to what the Beatle’s had in mind. Especially appealing is the use of the Lydian chord, major7 with a flatted fifth.

Another effective device is the false resolution to the A major

This arrangement is not a literal interpretation; it has a few devices that I favor as well. Have fun!

West Coast Blues This is one of Wes’ greatest tunes that is a must for all jazz guitarist. The form is a blues and when played in 6/8 falls into the 12 measure format. The substitutions are similar to what Charlie Parker used in “Blues for Alice” and Jean Thielmans’ “Bluesette” pays homage to these substitution formulae. Here is the more common variations as found in “Bluesette”.

This to help establish the relationship between so called west coast blues as in “Bluesette” and Wes’ tune “West Coast Blues”.

Wes uses a beautiful intro and outro that reminds me of John Coltrane’s harmonic sense.

Please notice the “Solo” changes. These are the chords that really make this tune fun to play over. The head has fewer changes and lines up more with conventional changes.