#----------------------------------PLEASE NOTE---------------------------------#
#This file is the author s own work and represents their interpretation of the #
#song. You may only use this file for private study, scholarship, or research. #
#------------------------------------------------------------------------------##
From:
[email protected] (spideir)
"AUTUMN LEAVES" (Joseph Kosma, 1947--"jazz standard")
===============
[tab] -- chord chart "arrangement" by tcg, 198?, 1994
-- 4/4 // key of Em/G // Allegro (pretty fast)
[the way _I_ played it, at least!--
just to piss off Roger Williams...]
-- form: 32-bar--||: A(8)-A(8)-B(8)-C(8) :||
-- the lyrics? believe me, you DON T want to know! . . .
-- each chord symbol = / / / /
[straight fours: "chunk"-"chunk"-"chunk"-"chunk"]
-- chords voiced for fingerstyle; may have to alter voicings
for plectrum (especially Em...)[/tab]
[tab] :
5-55(5)- 5-45(5)- 3-44(3)- 3-24(3)-[/tab]
[tab] Am7 Co7* Em Em [hold for 4]
5-55(5)- -3(4)24- 0-545- 0-545- [repeat A][/tab]
[tab] :
-2424- -2424- 0-545- 0-545-[/tab]
[tab]
-5453- -5453- 3-443- 3-443-[/tab]
[tab] :
5-555- -2424- 0-545- 0-545-[/tab]
[tab] [hold for 4]
5-555- -2424- 0-545- 0-545-[/tab]
* Co7 is a substitute for the B7 chord in the "sheet music"; feel free
to interchange Co7 & B7 in tune [Co7 = B7b9(no root)].
In fact, the chords above can be viewed as a simple example of
jazz substitutions--
section, "sheet music":
" " "jazz chords": Co7
--the WHY s:
1) Am-->Am7: in most cases, you can play a m7 for a minor to get a
"jazzier" sound (Santana & Steely Dan did it all the time--likewise,
in this tune, you could change all the Em s to Em7 s...). Another
common jazz substitution "line" for the plain minor chord could also
be incorporated into this song: instead of Em Em, try Em(//)
[tab] (M7) (//) (//) (//).
2) D7-->Am6: for a V7 chord in a major tonality (here, D7, in G major),[/tab]
you can substitute the V9 (D7->D9); in addition, D9(no root)=Am6
[V9(no root)=ii6]; therefore, D7 becomes...Am6!, which follows
nicely, voice-leading-wise after the Am7.... ("IT s not MAG-ic....")
3) G-->GM7-M6: for the I (major tonic or "key") chord, especially
long stretches thereof, the M7, M6, or both! can be played in lieu
of the boring plain major chord (though the M7 & M6 would sound
pretty weird in a country or folk progression!)....
4) B7-->Co7: see *note above; indeed, most diminished seventh chords
you ll see can be explained as substitutes for some dominant
seventh-type chord....
LEAD notes: I d tab out the schmaltzy melody, but the reason this
song is still being recorded by jazz people to this day is that
it s a fun tune to improvise over (and by the way, only the Lord
knows why anyone would still want to sing the corny words!).
Since this song doesn t modulate (unless you count GM<->Em, but not
really) it s a lot easier to jam over than most "jazz standards."
In fact, you only need TWO scales:
[tab] 1. natural (aeolian) minor (= major!) scale: -------
--this ll fit all the chords except the B7 & Co7....[/tab]
[tab] 2. harmonic minor scale: ------**-
--this ll fit over the B7 & Co7 chords: notice that the only[/tab]
difference from the first scale is the d#--in fact, it s
actually easier to just think "d# instead of d" when you
come to these chords than to worry about "harmonic instead of
natural minor! oh, no!...."
{3. For a little spice, try a diminished 7th arpeggio over the Co7 &
B7 chords: c-d#-f#-a (true, these tones are in the harmonic
minor scale given above--just a slightly different approach):
______ --try playin from low to high and back, then experiment
I ||1||| on your own--right, just every three frets in any
|||1|1 direction!...
|3||||
||4|3|
|||4|4
||||||
--Now lay down the rhythm track, and go fer it--
FINALLY, the "sound" of these chords (and associated scales) does
take a lot of getting used to--even after you get the rather
difficult fingerings down (took me months), there s still the
matter of acclimating your ears to actually _liking_ the sound of,
say, a M6/9b5 chord (took me years!). But if the plain old G-C-D
stuff is gettin yu down, and you also realize you ll never be
a great speed-metal lead picker--well, this is one logical direction
of development. . . . Oh, a M6/9b5? :: CM6/9b5: - 3 2 2 3 2 .
"Beautiful-ugly," ain t it?!
|
[tab] --:--tcg
)[/tab]
