I'm sure lots of you do the same...substitute the chords used in writing a tune for something you like better.

For instance, sometimes I'll take a tune like Three Dog Night's "Pieces of April" and play a Bmaj 7 to a C#min 9 instead of a B maj 7 to an Emaj 7. Depending on the tune, I might hold the B bass note thru the changes or use an alternate bass note.

I'm a big fan of major 7ths, so I often use them on ballads instead of the straight chord.

What about you? What recognizable tunes have you customized
with your own structural alterations?

I'd like to experiment with some of your tunes and ideas.


Russ

This would be an INVALUABLE thread on this board ... I'm an 'old dog' who is still willing to try to learn new tricks ... UNfortunately, prior attempts at such a thread never really got off the ground ...
Looking forward to some education from some of the "players" out there ...

Find as many of your favorite tunes as you can in a Bill Evans discography and then spend a day listening to them over and over and over. If you've got a good ear, you'll learn all you need to know.

With jazz chords, it sometimes depends on the instrument. For instance, jazz guitar chords tend to be voiced differently than jazz chords on a piano, and different still on a 'Rhodes'. For Rhodes, it's George Duke all the way for me.

I don't do substitutions as much as revoicings. There are just some jazz chords I tend to play in a certain way in certain keys....not a good thing, just habit and laziness. Like Tony, I'd be interested in learning a few new (easy) tricks, so let's have it, folks.

chas

I expect you to be one of the teachers, chas ...

Chas, you are right about inversions/re-voicing in jazz formats.

I was trying to pick something universal and simple to get my point across and encourage some examples.

Bill Evans was the master of inversions. I drive myself crazy trying to figure out what was going on in that brilliant, troubled head of his.

In pop and simpler formats, a simple substitution of a maj 7th can make all the difference in the world.

A lot of this comes down to personal style, as you point out in some of your chord preferences. I'm the same way.

Suggestions as to a stylistic approach to the assembly/choice of chords is equally valuable here.

For a simple example, our classic R&B C, Am, F and G. is often converted by orchestra and jazz players as a Cmaj 7, Am9, Dmin7th, G7. On guitar, this eliminates open chords and allows control of slides and sustains, classing the act up a little. And, if you learn that structure on guitar, you can easily play in different keys by simply starting the Cmaj7th form in the right position, as indicated by the bass note played on the A string.

As usual, Chas, it must be mental unity. Musically, you and I often think so much alike.

Anyone else....??????


Russ

George Duke is my man, too!


Russ

A Major 7th chord has certain qualities; It is rare when it is used in a song that is driving. A song like Misty or Stormy needs a Major 7th chord to be complete the song.

A major chord in a ballad or bosa nova is dry so adding a Major 7th or a 6th adds to the song. This is not limited to jazz, it fits whenever the Major chord needs help. I cannot picture playing a C major chord for 8 beats.

In a rock or blues progression – I IV V -- C F G7 try using all ninth chords with the ninth as the high leading note. C9 F9 G9

John C.

I feel it would be a good idea to select a song most of us know and then let the ideas flow.

John C.

Dead on observations, john.

r.

I totally agree, in fact I couldn't even play a Major 7th for 8 beats, I would at least alternate between a Major 7th and Major 6th to keep it moving.