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are Careers Ginter U TOMO Ln UD eee TI) 5 i Siete Inthe Mood... eee SoH B (ern iedsen scar Tuxedo Junction 16 3 = Glenn Miller Orchestra, 1940 Take the “A” Train at} 4 SO eine ‘AString of Pearls 24 5 = Glenn Miler Orchestra 1942 es yserice 29 G = Beniy Goodman, 1942 RUM 33 u Bie ern ocr Route 66 ET G Tatoeae Choo Choo Ch’ Boogie... * ry 9 Esso Ecinitnsiv ane ‘Just'a Gigolo/l Ain't Got Nobody (And Nobody Cares for Me)... 48 10 Sree ATS ee H ed i Ceo mses iets era Sern enc Gl 2 BE Tens roger eT eterna 2 Gi 43 Seite Ga Daddy-0. ak cr = Blo Bad Voodoo Daddy, 1998 ECTS pee cel) cuit and vate so.ion THE RECORDING A urna ‘Saund engineer ar alano: Dennis O'Hanion the stereo mix, 60 you can isolate them for Saxophone: lke Rose close sludy. oF pan them out and play ‘Arrangements, synth Norns. bass, and keyboard: Tom Katelin. ‘along vith the band. Recorded at O'Hanion Recording and Music S Hermosa Beach, CA Perera eet HAL*LEONARD’ CoS ore We ants) Ceres eee oe eee ee Inhouse Eble unr ew Simple Chord Embellishment If you divide chords into three categories—major, minor, and dominant seventh—you can. substitute chords within @ category. In other words, any seventh chord can be replaced by a 9th, 13th, or any of the many variations of dominant seventh chords in the chart below. Instead of C major, you can play C6, Cmaj7, C/E, and so on. Of course, each chord type (th, 6th, 13th, ete.) has its own color or feel, and you can only select a good substitution when you are familiar with the many colors available. This familiarity comes from experimenting with many chord types in different musical situations. Everyone has personal preferences; many players would never play a simple major triad (at least add a 6th, for Pete's sake!) or a seventh chord (add a oth). A Chart for Simple Chord Embellishment Major Chords Minor Chords Dominant Seventh Chords sixth minor seventh seven flat five ‘major seventh minor sixth seven augmented. major ninth, minor ninth seven suspended ‘add nine minor six/nine seven flat nine suspended minor seven flat five seven sharp nine six/nine minor eleventh seven flat nine augmented fifth in bass minor eleven flat five seven sharp nine augmented third in bass minor/major seventh ninth ninth augmented nine flat five eleventh eleventh augmented thirteenth, thirteen flat nine You can use chord embellishment to create a series of chords with a rising or falling internal melody. For example, instead of two bars of G leading to C, play G-G* | G6-G7. Notice the as- cending single-note line within the chords: D-D4#-£-P, Another option would be to play G-Gmaj7 | G7-G6-G and hear a descending melody within the chords: G-t Scalewise (Diatonic) Progressions Sophisticated comping is often motivated by a bass line: Instead of playing a single chord for several measures, you play an ascending or descending bass line, based on the major scale of your tonic chord. And instead of playing single notes as a walking bass would, you play a chord for each note in your “walking bass line.” Thus a whole chord progression is bon where the basic tune had a few measures of a single chord. The chart below shows which chords you can assign to your ascending or descending major- scale bass notes. Por this scale degree: 1 ir it Vv v vi Vil Play this chord type: 1 Tm iim w y Vim vir or or or or 1 IN. IVI Vilm7bs or or Im/Vl V/V or Mim/Vur