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Joined: Nov 2003
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I'm wondering if it is customary to simplify jazz (real Book type) charts when I have to sing and play? I have a bunch of standards I want to do but to sing and play them @ the same time seems too busy. I want to go for a sparser feel ....any ideas on resources for simplifying a chart...perhaps one change per bar or something like that...Ive seen a lot of fake books just do it a little differently. Some hang on a chord for a couple of bars where another chart might have a 2-5 between each tonal center and shift around a lot ....You hard core jazz guys out there I'm sure have made your own arrangements a lot.. what can be done w/out sounding like a simpleton? ..Thanks in advance for your input:)
...........Jeff......
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Not sure I get what you want, but I just practice each tune until I can play the changes and then its no problem anymore.
--Mac
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What Mac says it true. Practice is a great key. But there are times when you have to make changes There's no way you can hit every chord on some of those fast charts that have changes on every beat. Especially if they are piano charts and you are trying to play them on guitar. What you have to do is get the major changes ei. the 1st and 3rd beats. There are also chords substitutions you can google them if you want some simpler chords if that's what you are looking for until you can get your playing level up.
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Thanks for the replies. I guess my question has more to do with the arranging of the charts for playing piano and singing @ the same time...even listening to some of the biab styles the piano is not playing on every half note although the changes are 2 to the bar. The player seems to know when to play and when not to...I guess it is just practice...I know what you mean about the practice...I've got a few charts that I can play or I can sing but not both...And I'm wanting to work up the charts to do a single.( using some biab bass lines and maybe some horns/strings or something) I thought maybe there is an option of doing more sparse comping while singing and there were some rules as far as what I could leave out and what must be included in the changes in order to be hip:)
...........Jeff......
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Hi Jeff - I find I often make multiple charts for the same song. The first is for BIAB where I'll load it up with all the changes, and pay attention to slash chords to give some control of base lines, etc. I'll usually try different changes in the various "a" sections for experimentation. Then I may make another leadsheet with less clutter that I use as I learn the tune on keyboard, using it more as a leadsheet. By then I'll be working out my own base lines, 2 and 4 -beat subtleties, etc. The more my arrangement develops, the less I need to see the fine stuff. And if I'm making a leadsheet for someone else, I may make and even simpler bare-bones chart.
There is not a way in BIAB to have a different set of such charts in the same file. I suppose you could copy one choruses after another and edit each chorus for each purpose - but I sure don't like that idea.
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Thanks for the idea Kelso:
I think that is where I'm at...Some jazz standards Ive been working on for a while can get a little more complex while tunes I'm just learning need to be kind of bare bones until I'm fluent w/them....
...........Jeff......
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Ah, the art of "chord skipping" -- hey, its jazz.
Not only can you simply not play chords in a dense section, but if you listen hard to the comping of many great jazz guitar (and piano) players, you will find that they often play the SAME chord where the chart specifies another. There are rules to this, the ear is the final determining factor, though.
In Jazz forms, learn the tritone subs and also the "shell" fingerings for the guitar, most of which are based on the "inside chord" fingerings.
You don't have to play a full course six-note chord (or 5...) and as a matter of fact, in jazz it is umdesirable to do so most of the time. Two, Three and four note chords that don't contain any more information that is needed to imply the chord is the word of the day.
For example, when I come across a C7 chord and am reading on guitar, a comping section, I might just grab a Bb and an E, the flat 7th and 3rd of the chord. The bass is likely handling the root, so having two stringed instruments play the root is too heavy for jazz work and redundant besides.
Less is more.
OF COURSE, there are study guides and lessons available on this style of comping, highly recommended. Some are likely to be postee online somewhere for free and can get one started on that path, others may cost money.
The PGMusic Jazz Guitar series is EXCELLENT, BTW, well worth the small amount of money it costs, and like having a live jazz guitar teacher at your beck and call 24/7 if you take the time to work with the program it will pay off.
--Mac
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Thanks Mac....I'll be playing some guitar too so this will be real handy....at the moment I'm doing these on piano. I'm guessing the same comping rules apply? Shells possibly roots and shells and kind of relax the rhythm and don't try to get every single change in there?...I'm gonna play with it...Ive been playing pop and country for a long time and I'm working to stop my thumb from grabbing roots all of the time...and the church lady dominant 7ths in root position have got to go L.O.L. I just bought the pg music keyboard chord computer hoping I'll learn some more hip voicings:)
...........Jeff......
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