There will never be another you, chord fingerings?
Pekka P
I´m singer-guitar player in a blues band (me + sax, bass & drums) and we are
planning to get a little "jazzier".
Our saxplayer suggested the song "There will never be another you" as a
starter. I´ve been listening the Chet Baker version of it (he sings it also)
and have a pretty good idea what´s it about BUT: the fingerings of the
chords are hard if played as full chords. I´ve been playing guitar for 15
years mainly blues and rock so the jazz chords are a bit vague to me.
I´m looking for an easy way to play it so I can also concentrate on the
singing part. What I´ve been thinking is:
- the bass should focus on the root and the fifth
- the guitar on the third and the dominant, maj/maj
- sax all above + the augmented notes, 11ths, 9ths etc.
Any sense in this?
Where would you play the song as a guitarist (if you where playing in this
sort of band): from the lower notes, mid, or higher notes and what kind of
fingerings?
The song is in Ebmaj.
All the ideas/suggestions are appreciated - thanks!
Pekka
Keith Freeman
> chords are hard if played as full chords.
if necessary. That'll outline the harmony and give you a framework to build
upon.
-Keith
Music samples, tips, Portable Changes at
http://home.wanadoo.nl/keith.freeman/
E-mail: keith DOT freeman AT wanadoo DOT nl
dunlop212
playing in a band setting, but of course this depends on the song and
the arrangement. This is true of rock as well as jazz. If you have been
playing 15 years, I would assume you already know this (you aren't ham
handedly playing cowboy chords and 6 string barre chords, and calling
that "rhythm guitar" I hope).
As Keith says, the 3 and 7 are the most important. Many times the
extensions shown in the charts are just an attempt to add the melody to
your underlying 7th or major 7th chord, so there is no reason to play
them. If you are playing them, it should be for a musical reason you
can hear that makes the whole band sound better, not because they are
on the charts. 95% of the time you are fine just playing 7th and major
7th chords without the extensions, especially if your skill level
prevents you from playing the more complex voicings cleanly and on time.
dunlop212
(hopefully that is clear from the context).
Joey Goldstein
i.e. the 5th is omitted) on the guitar.
Cmaj7
X 3 2 4 X X (1 3 7)
8 X 9 9 X X (1 7 3)
C7
X 3 2 3 X X (1 3 b7)
8 X 8 9 X X (1 b7 3)
Cm7 and Cm7b5 (remember, the 5th is being omitted)
X 3 1 3 X X (1 b3 b7)
8 X 8 8 X X (1 b7 b3)
Cdim7 and Cm6
X 3 1 2 X X (1 b3 bb7/6)
8 X 7 8 X X (1 bb7/6 b3)
C6
X 3 2 2 X X (1 3 6)
8 X 7 9 X X (1 6 3)
C7sus4
X 3 3 3 X X (1 4 b7)
8 X 8 10 X X (1 b7 4)
--
Joey Goldstein
http://www.joeygoldstein.com
joegold AT sympatico DOT ca
Pekka P
it, thanks! I played it with the Aebersold play-along (which is pretty fast
tempo!) and it sounded ...jazz :-)
What I noticed is that it´s a lot easier to play with fingers than with a
pick: with pick it sounds kinda sloppy (I´m a Finn so not sure if this is
the right word?). The hard part was when I tried to play the melody with the
pick after comping - any ideas where to keep the pick if comping with
fingers but playing the melody/solo with pick? Mouth would be easy but I
sing also... Double sided scotch tape on the guitar? :-)
"Joey Goldstein" <nos...@nowhere.net> wrote in message
news:436F6C1E...@nowhere.net...
Keith Freeman
> fingers but playing the melody/solo with pick?
of fingers, that takes a bit of practice (especially getting it back in
position again!).
If you want to get a less sloppy sound and feel when playing chords with
the pick, hold the pick between the back of the thumb and the *side* of
the first finger, supporting the first finger with the second; play rest
strokes, and play from the elbow. It seems clumsy at first, but because
the pick is held in a firm grip you will eventually have more control.