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Bob_B Offline OP
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Just curious: I have four choruses of a 16-bar song, and I would like to put a 'rest' on a chord in chorus 1 and 4, but not have that chord rest in choruses 2 and 3. Is there a way to do this without unfolding the choruses to one big chorus?

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Bob

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Bob Off the top of my head, press F5.
Hope this helps.


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Thanks Deddy, but I spent quite a bit of time this morning look over the bar settings (F5) without success. Of course, I have been known to overlook things in past, so I'll search the bar settings again later today. Again, thanks for the tip.

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The 255 measure limit is not a problem here when unfolding the song to one long chorus. However if it were, I would probably write the first chorus, then repeat the second for one time, then copy the first to the fourth. It would be 3/4 the length of a fully unfolded song.

The form requested is not at all unusual in jazz, where we play the head (1 & 4) with the rhythmic hits, but without those hits in the blowing choruses (2 & 3).



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Originally Posted By: Matt Finley

The form requested is not at all unusual in jazz, where we play the head (1 & 4) with the rhythmic hits, but without those hits in the blowing choruses (2 & 3).



Matt, what about the chord changes for these middle "blowing" choruses. Is it common to keep the chords changes identical or are they often adjusted to simplify the backing for the soloist. Honestly, I recently determined that I can be a little overwhelmed trying to play over complex quick changes. I thought, heck why not just put some a simple chordal vamp into the middle to make my life easier. Am I the first to think of this?? crazy


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Bob_B Offline OP
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Originally Posted By: Matt Finley
The form requested is not at all unusual in jazz, where we play the head (1 & 4) with the rhythmic hits, but without those hits in the blowing choruses (2 & 3).


Very good, Matt. Yes, I am working on Dorham's "Una Mas", with solo choruses and interlude.

Bob

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Originally Posted By: jazzmandan
Is it common to keep the chords changes identical or are they often adjusted to simplify the backing for the soloist. Honestly, I recently determined that I can be a little overwhelmed trying to play over complex quick changes. I thought, heck why not just put some a simple chordal vamp into the middle to make my life easier. Am I the first to think of this?? crazy


Yes and no, depends on the song. Most of the charts I see have identical changes for melody and soloing. However, "Wee" for one uses somewhat different chords for the solos. Harmonically, they achieve the same end IMHO.

Bob

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Bob, by coincidence, I just finished transcribing "Fancy Free", a 1969 Donald Byrd classic.

Dan, I agree with Bob on your question. I've seen about everything from "solo over the tune with all hits and chords" through "everybody play the blues in the middle" to "do whatever you feel". By definition, if the composer/arranger includes a separate sheet called "Blowing Changes", then I expect them to be different somehow from the regular song lead sheet. The difference is most often leaving out rhythmic ensemble hits, and/or simplifying the chord changes (often just because you aren't playing the rhythmic hits). But the difference can be a lot of things.


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I've seen all that stuff too but if the solo choruses still have all the complex changes, that doesn't mean you have to follow them. Just solo over the chordal centers or play some altered stuff. It'll fit over the rhythm section.

I just realized one thing you can do with Biab is pick a different style just for the chording instrument, if there's two do it with one of them. If it's a swing jazz thing, change the guitar style to one of the Freddie Green simple four on the floor ones and let the piano do the real chording. That will accomplish what you're asking about, simplify the middle choruses and you can do that with F5.

Bob


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Thanks for the insight, much appreciated.


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