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Where to starting learning Jazz?
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jamh2000
Posts: 41
Joined: Jan. 13 2012
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 RE: Where to starting learning Jazz? (in reply to JonathanMtz)
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I suppose it's worth bearing in mind that the modern flamenco composers, by and large, didn't come up with their chord progressions by sitting down with a jazz chord theory book. Rather, they picked up interesting chords from other players, adjusted them slightly, and came up with their own based on their wider listening. Nothing beats learning tunes by Vicente Amigo and Gerardo Nunez etc, perhaps using tabs from Alain Faucher, as that will get some of those chords int your vocabulary. It might help to study jazz harmony a bit- lots of good websites out there about chord substitutions, use of extensions etc. I also reckon it would be good to learn a bit of latin jazz- think 'Black Orpheus', 'Blue Bossa' and go from there... those tunes will use interesting variants on chords which fit into a flamenco flavour quite easily, and show you how you can incorporate certain jazz turnarounds or substitutions into latin music.
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 18 2016 13:27:32
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Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
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RE: Where to starting learning Jazz? (in reply to JonathanMtz)
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quote:
A good example is Cancion De Laura.
There is a blurry far away video of this tune. I can give you the jist but I can't make out exact voicings for each chord.
Basically the ideas come from a mix of MINERA (G# Phrygian) and Alegrias (E major). In other words, the voicings are all familiar if you know some stuff for those two palos, nothing jazzy going on.
The main theme is C#m7 in 4th position, F#m7 in 2nd position, G#(b9) in 4th position, all barre chords and they repeat a lot. There is that theme between the verses where he moves the chords double time, it's C#m7-A7#11-G#7 back to C#m7...and he sometimes walks down the bass notes w his index finger going to second fret B, open A, Bb(A#m7b5) on 6th fret (while holding the C#m triad with his other fingers) finally the A7#11-G#7 as before.
The second part of the verse goes Fm7-B7 (2nd position) and Emaj7 in open position:
0
0
1
1
2
0
Then back to F#m-G#(b9)-C#m7.
Next Amaj7 open, Emaj7/G# (I think, cuz it's blurry), C#(b9) barre 4, F#m7, Fm9(pinky stretch on 4th string)-Badd9-Emaj7(4th position), F#m7-G#b9...and he does this C#-B-A-G# chord hit thing he borrowed from his buleria in Minera called Querido Metheny.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 18 2016 16:11:58
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