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Tom Austin Member Posts: 3404 From: Occidental, CA, USA Registered: Nov 1999 |
posted 12-18-2002 09:57
   
I haven't actually worked out the chords you posted, Scott, though I'm sure they're right. My point in posting the alternatives I did was not to get a different sound or chord inversion, but simply to post the chords I use. I use them because they're closer to open chords. In my experience, it's somewhat easier to play up the neck on a uke compared to a charango. No double courses, and wider string spacing. Bob plays up the neck all the time on the charango, but I haven't done so as much. The charango is already so bright on open chords I haven't had that much desire to. I do enjoy working out my own chord inversions, and finding great lift-one-finger grip sequences. The GAFF site is a help rather than a crutch for this, I think. All the notes for a given chord are laid out in front of you, and all you have to do is play twister with your fingers. Woah! what if I did...THIS?
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Scott Jacobs Moderator  Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 12-18-2002 11:32
Tom, I'm jonesin' for a charango myself. I fear that the quest for the elusive reso-charango will be a long one. I suspect I will have an upright bass and a Michael Dunn custom Mystery Pacific long before my quest is complete. I've been following the foot stomping thread closely and will soon post an update on my experimentation with this concept. Is $199.00 too much to pay for a laminate uke? I'm inclined to say yes. But if it really grabs you then what the heck? Although ukes are once again being sold at a premium, there are still good deals to be found. I found my "made in Hawaii" all solid wood 1973 Koa Kamaka Pineapple soprano uke in a small guitar shop for $40.00. I didn't know if it was worth that but it sure sounded better than the other ukes on the wall. I searched the internet when I got home to find out that it is worth $300.00 to $400.00! I have heard nothing but good things about Joseph Todaro's charango styled ukuleles called The Akulele. http://www.elderly.com/new_instruments/items/AKU1DLX.htm The Kenny Hill Ukebrand ukes are based on a vintage design and have been getting good reviews. You can buy them at Elderly or Buffalo Brothers. http://www.buffalobrosguitars.com/ukuleles.htm That Duke Kahanamoku uke looks nice for the money. I've been using my OUIJA board to communicate with dead celebrities and Keef Richards tells me that he prefers this particular ukulele which he plays with only three strings instead of four. http://www.earnestinstruments.com/tululele.html [This message has been edited by Scott Jacobs (edited December 18, 2002).] IP: Logged |
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John B Member  Posts: 1387 From: Registered: May 2000 |
posted 12-18-2002 11:37
Tom, When you get down the Peninsula, Gryphon's got a ton of Ukes - mostly the Fluke, but a nice selection of others as well. Also Eric Schoenberg has some in Tiburon - Kenny Hills as well as Asturia. He has some in stock not on his website, I believe. IP: Logged |
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Scott Jacobs Moderator Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 01-06-2003 10:30
My wish list is almost complete. I'll soon post a full arrangement for playing along to Oscar Aleman's recording of "Besamé Mucho." That leaves "Shine" and "Russian Lullabye" that I have yet to add to my swing repertoir. I've worked up a version of "After You're Gone" using a uke arrangement sent to me by a fellow named Greg Kline. His arrangement is in the key of F but the Django/Freddy Taylor version sounds like it is in the key of G to my ears. Later I would like some input on arranging for the key of F. But first here it is in the key of G for playing along to the 1936 recording. Chords: Am6 = 5x45xx Leo has instructed me on the appropriate gypsy vernacular for various portions of a tune. I'm always proud to show what a good student I am so lets begin with the "first part." Each chord is played for exactly two bars. Each bar is 4 strums in the muted gypsy swing fashion. To play along with the recording you should warm up because this baby is fast! It helps to have first indulged from a bottle of the red as I usually do every morning for breakfast. (C6)After you're gone (Cm6) and left me crying. (G6)After you're gone (E7)there's no denying. (A7)You'll feel blue. (D7)You'll feel sad.(pause on G6) You'll miss the dearest pal you've (G7 implied for a bar before the next C6 chord)ever had. (C6)There'll come a time (Cm6), don't forget it baby. (G6)There'll come a time (E7)when you'll regret it. BRIDGE (Each chord is one bar): (Am6)Some (E7)day (Am6)when you grow (Cm6)lonely, (G)you're heart will (B7)break like mine and (Em)you'll want me (G0)only. (Back to two bars per chord) (G6)After you're gone. (D7) oh baby. (Pause on G6) Zab a dip a doo oh zazzasss. There is an incredibly fast turnaround employed once or twice by one of the guitarist in this tune. I have some ideas on it but it goes by so fast that I can't even comprehend it. Any thoughts? I'll post a turnaround when I'm more comfortable with one. Some thoughts on arranging for the key of F: In his class at IGS San Diego Pat Donahue taught "Honeysuckle Rose" in the key of G using the "rhythm changes" chords but he remarked that "its usually played in the key of F." What F chord inversions is Django using when he is in this key? Does Django use the same kind of chords that Robin Nolan uses in his 1st book? These are listed as F = 133211 and F6/9 = 8x778x or alternatively as 8x7788 Paul Mehling offers these F6 chord inversions on his video: F6 = 88776x and F6 = 13323x. These take some practice and are very different from the typical gypsy chords that I've posted. IP: Logged |
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Corn Dog Member Posts: 1765 From: Montclair, NJ USA Registered: Jan 2001 |
posted 01-06-2003 11:11
Alright Scott! I'm gonna some fun with this tonight. Looking forward to your "Besame Mucho" post as well. [This message has been edited by Corn Dog (edited January 06, 2003).] IP: Logged |
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Scott Jacobs Moderator Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 01-07-2003 12:16
Well, I've been playing around with the arrangement a little bit. In the bridge I'm finding that an Am7 (5x555x) sounds better to my ears in supporting the melody than the Am6 (5x45xx) that I had previously listed. Does anyone have any good rules of thumb for when to use a m6 vs. a m7 chord when creating an arrangement? Also in the bridge instead of the G chord (10/x/9/12/x/x) I've listed originally you can use instead G6 (3x243x) to B7 (2x12xx) to Em7 (3x243x) to G0 (3x23xx). This leads nicely to the G6 to D7 that follows. Since this tune is blisteringly fast these changes require very little hand movement. This brings up another question. You'll note that most of the tunes listed on this thread are in the key of G. On many tunes you can use the chords of G6 (3x243x), G/B (7x57xx) and Em7 (7x578x) almost interchangably. In the above example I've used a Em7 (3x243x) which is the same as a G6 chord. This works fine with the melody line in "After You're Gone" but if I use this same substitution/inversion in support of the melody of "It Had To Be You" over the Em chord then it just doesn't sound right. Other Em chords like 7x578xx or x79x8x work just fine though. Why is this the case? IP: Logged |
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mr mando Member Posts: 1026 From: Heart of the Alps Registered: Apr 2001 |
posted 01-09-2003 05:50
Could it be that the melody note to fall on the Em in "It Had To Be You" is the minor third (g-note) of the chord? I found out that if you're using more sophisticated chords than a dominant, you have to very carefully take the melody notes into consideration if you're the only instrument providing harmony. Concerning the Am6/Am7 question I'm also only using my ears, but sometimes I think that the Am6 has a way more bluesy colour than the Am7 (because of the tritone). So if I want the tune or the place in the tune where the Am appears to sound rather bluesy, I try an Am6 first. Scott, if you're already working on "Shine", I think I found out what Django does at the chromatic move áfter about 2 minutes of the tune. Maybe you want to know? [This message has been edited by mr mando (edited January 09, 2003).] IP: Logged |
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Scott Jacobs Moderator Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 01-09-2003 16:34
I haven't started with "Shine" yet. I was planning on working that one up by ear like I did for "It Had To Be You." When I get some time I plan to finish my arrangement of "Besamé Mucho" using chords supplied solely by Leo Stepanek. What can I say, I'm lazy. Although I make reference to cheating in my post on "Nagasaki" for ukulele, I'm now playing 'em pretty straight. But the point is that there is some room for variation and experimentation. I'm still trying to digest your comment on the difference between the use of Em7 vs G6 chords over the melodies of "It Had To Be You" and "After You're Gone." I definitely need to learn more about chord substitution and theory. I hope everyone is having as much fun playing and singing these tunes as much as I have been. IP: Logged |
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Scott Jacobs Moderator Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 09-22-2004 17:03
I've got a couple dozen swing tunes under my belt now but I've been wanting to make this wish list complete. Here's my arrangement of "Shine." This is based on the 1936 recording in the key of Eb with Freddy Taylor on vocals. Its on the fourth CD of the first JSP boxed set. Incidentally, I have another copy of this exact same recording on another label where it is definitely in the key of G! The transposing required to play in both keys was fun and is a great exercise for gaining insight into these kinds of progressions. Chords: Ab6 = 4x354x Chart: |Eb9/6 |Eb9/6 |Bb7 |Bb7 | Lyrics: (Eb9/6)'Cause my teeth are(Bb7)pearly. Just be(Eb9/6)cause my hair is(Bb7)curly. (Eb9/6)'Cause I'm glad I'm(Bb7)living. Its possible that there's more going on with some walking bass lines involving slash chords at the very end of the progression but it should be good enough for you to jam along with the recording. Now, go impress your friends with the ability to play guitar in the key of Eb! IP: Logged |
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drDAve Member Posts: 739 From: Lake Oswego Registered: Sep 2000 |
posted 09-22-2004 20:44
For the last 4 bars in the A section try F7 F7 Fm7 Bb13b9 (this sounds worse than it is-it adds a nice moving voice in the bass back to the Eb6/9 use F7 8x786x Fm8x689x ) For the last 2 bars in the B section try Eb6/9 Bº Cm7 F7 IP: Logged |
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drDAve Member Posts: 739 From: Lake Oswego Registered: Sep 2000 |
posted 09-22-2004 20:48
For the last 4 bars in the A section try F7 F7 Fm7 Bb13b9 (this sounds worse than it is-it adds a nice moving voice in the bass back to the Eb6/9)
For the last 2 bars in the B section try Eb6/9 Bº Cm7 F7--2 beats per chord. Of course, the real trick here is to sing it like old Freddy. IP: Logged |
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The Dog Member  Posts: 838 From: national city, CA, USA Registered: Mar 2004 |
posted 09-22-2004 21:24
Scott, here's the way I play it. I haven't included my intro... but the "meat 'n potatos" are here. This one can get going pretty dang fast; I find it's best to hold your tempo in check or it starts to fly away with you. Note: to play it in Eb please capo at the 3rd fret. The chords are as if you were playing in C, to conform with the "grips." The "H Q E" symbols above and below the staves indicate timing of melody and bass, respectively. Try it slowly at first. This really is a fun piece! SHINE
Fall has cast its pall... o'er San Diego, and National City, and soon it'll be cool enough to record in my little home studio without inducing an anuerism due to heat stroke. When that day comes, I'll be able to include sound files with my little arrangements. Oh, joy! I just know you're all looking forward to that! Dog. IP: Logged |
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Corn Dog Member Posts: 1765 From: Montclair, NJ USA Registered: Jan 2001 |
posted 09-23-2004 13:53
Scott/Dog: Thanks for resurrecting this thread guys. And thanks for the Tab Dog. I fiddled with both of your arrangements on my guitar this morning. Correct me if I'm wrong, but Scott, you're grips are more in the Freddie Green 3-note swing configuration while Dog, with the capo @ 3, your grips are in more of a country blues/rag mode that springs from the CAGED grips. Yes? Dog, I dig the change from the C to the Cdim (Am6 in my mind as I'm thinking of it as the vi in C) in the 2nd bar. I'd label what you've indicated as G7 in the first half of bar 3 (from feet, the notes are A-F-G) as Fsus2/G indicating the 2nd in the bass. This would be a sub for the ii (Dm) since Dm is the natural minor or vi of F. Then on to G7 (the V). Voilà! Rhythm changes (I-vi-ii-V)!! I morphed from there into a IV - V vamp, using bar 4 as the tag turn around. All in first position essentially with nice close harmony voice leading. Very cool. Lots of fun! Thanks for the musical exercise/ideas! [This message has been edited by Corn Dog (edited September 23, 2004).] IP: Logged |
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The Dog Member Posts: 838 From: national city, CA, USA Registered: Mar 2004 |
posted 09-23-2004 19:49
Corn Dog: Sometimes those little rascals get in there and make the chord seem a bit more elaborate, but in my mind I reduce 'em down to their common voicings. If an A note gets into a G7 chord, you can think of it as a G9, but I think: G dominant with a... lessee.. an A - how'd that sucker get in there!? I always reduce chords in my mind to the most common voicings so that the chord progression is nicely instilled in my brain. That way when another instrumentalist takes a solo, I can chop chords over the common voicings rather than try to capture every note. Works for me. But it may not be everyone's cup of oolong tea. Dog. IP: Logged |
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bellamira New Member Posts: 1 From: Portland, Oregon Registered: Apr 2005 |
posted 04-09-2005 17:27
You Guys are blowing my head up! I am a uke player and recently diggin on gypsy swing, with the desire of learning dsome of it. Mark in Porland Spank that uke! IP: Logged |
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Scott Jacobs Moderator Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 04-12-2005 17:37
Welcome, Mark! Chicks dig ukuleles. IP: Logged |
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Grant New Member Posts: 3 From: Scotland Registered: Apr 2006 |
posted 04-12-2006 07:23
quote: IP: Logged |
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Grant New Member Posts: 3 From: Scotland Registered: Apr 2006 |
posted 04-12-2006 07:25
I read with interest you comments on I'se a muggin'. If it is not too late, here is an URL you can locate what you want: http://www.fleamarketmusic.com/bulletin/bulletin-single.asp?BulletinID=3561 Have fun! Grant IP: Logged |
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Scott Jacobs Moderator Posts: 3460 From: Port Charlotte, FL Registered: Apr 2001 |
posted 04-12-2006 07:29
quote: Like a dog chasing his tail. I started that thread as well. I'm glad that it was some help to you. IP: Logged |
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Grant New Member Posts: 3 From: Scotland Registered: Apr 2006 |
posted 04-12-2006 07:34
Here's a new (to me anyway!) fascinating version of Nagasaki with a different tune from the one normally heard: http://www.harrywarren.org/songs/0362.htm Enjoy! Grant IP: Logged |
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delaney Member Posts: 9 From: tim buck too Registered: Jul 2007 |
posted 07-14-2007 17:35
hello ..all ye. o:k short and sweet. Georga is in the key Eb not F the chords are simple Ebma7/69 whatever, G7, Cmin7 and Abmin6, thats one chord per bar with a i,vi,ii,v turn around, two chords per bar in Eb, on the second A to go to the bridge play Ddim and Bdim. bridge Cmin7one bar cmin7/g7 next bar, Cmin 7 one bar cmin7/cmin6, Cmin7 one bar, Cmin7/ D7 then another i,vi,ii,v in ebmaj back home, cool?.. Django could play walking bass lines have you hear 'You Rascal' Example... Three note chord viocings, very simple. play a Gmaj 6 thats a G on the bass string, E on the D string B on the g string (chuckle chuckle). next chord is the vi chord in G which is Emin but heres were your mind collapses. we substitute the minor 6 and turn it into a dominant chord thus E7, then we substitute that with a diminished chord using one of the guide tones from E7. After youve played the three note g6 move your fingers up one fret to Ab. then lower your your little finger by a semitone so the chord reads ab bass string, f on the d string and b on the g string (chuckle chuckle) this is a substitute of E7. next we move this shape up another semitone to A, keep the same shape this time and this becomes an Amin6 get it? the ii in Gmaj! to now play the v is easy you keep the same shape but put you root note as D the v in G. Aminor 6 and D7 are the same. Play these chords and not only can you play any i,vi,ii,v but your also playing I.ve Got Rythm and as you see you have a chromatic bass line. Is it walking maybe maybe not but by substituting chords and playing three note voicings your playing bass and chord as one chromatic harmony mmmmm!! you can embelish this further. play what i just showed you but stop when you get to the amin6 then with the same shape move it up another semi tone this is now a Bbmin6 right? it's also a Bb dim work it out. the next chord move up to B but this time we play first inversion Gmaj, B on the E string G on the D string D on the G string (boring joke now) now go back down the way you came Bbmin6 Amin6 D7 the Ab min6/dim and the Bbmin6/dim are what we call diminished passing chords, DSjango uses these all the time, listen to You Rascal and youll here exactly what im saying Have fun.... not tired bored englishman quote: IP: Logged |
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delaney Member Posts: 9 From: tim buck too Registered: Jul 2007 |
posted 07-14-2007 17:43
hello ..all ye. o:k short and sweet. Georga is in the key Eb not F the chords are simple Ebma7/69 whatever, G7, Cmin7 and Abmin6, thats one chord per bar with a i,vi,ii,v turn around, two chords per bar in Eb, on the second A to go to the bridge play Ddim and Bdim. bridge Cmin7one bar cmin7/g7 next bar, Cmin 7 one bar cmin7/cmin6, Cmin7 one bar, Cmin7/ D7 then another i,vi,ii,v in ebmaj back home, cool?.. Django could play walking bass lines have you hear 'You Rascal' Example... Three note chord viocings, very simple. play a Gmaj 6 thats a G on the bass string, E on the D string B on the g string (chuckle chuckle). next chord is the vi chord in G which is Emin but heres were your mind collapses. we substitute the minor 6 and turn it into a dominant chord thus E7, then we substitute that with a diminished chord using one of the guide tones from E7. After youve played the three note g6 move your fingers up one fret to Ab. then lower your your little finger by a semitone so the chord reads ab bass string, f on the d string and b on the g string (chuckle chuckle) this is a substitute of E7. next we move this shape up another semitone to A, keep the same shape this time and this becomes an Amin6 get it? the ii in Gmaj! to now play the v is easy you keep the same shape but put you root note as D the v in G. Aminor 6 and D7 are the same. Play these chords and not only can you play any i,vi,ii,v but your also playing I.ve Got Rythm and as you see you have a chromatic bass line. Is it walking maybe maybe not but by substituting chords and playing three note voicings your playing bass and chord as one chromatic harmony mmmmm!! you can embelish this further. play what i just showed you but stop when you get to the amin6 then with the same shape move it up another semi tone this is now a Bbmin6 right? it's also a Bb dim work it out. the next chord move up to B but this time we play first inversion Gmaj, B on the E string G on the D string D on the G string (boring joke now) now go back down the way you came Bbmin6 Amin6 D7 the Ab min6/dim and the Bbmin6/dim are what we call diminished passing chords, DSjango uses these all the time, listen to You Rascal and youll here exactly what im saying Have fun.... not tired bored englishman quote: IP: Logged |
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delaney Member Posts: 9 From: tim buck too Registered: Jul 2007 |
posted 07-14-2007 18:29
hello ..all ye. o:k short and sweet. Georga is in the key Eb not F the chords are simple Ebma7/69 whatever, G7, Cmin7 and Abmin6, thats one chord per bar with a i,vi,ii,v turn around, two chords per bar in Eb, on the second A to go to the bridge play Ddim and Bdim. bridge Cmin7one bar cmin7/g7 next bar, Cmin 7 one bar cmin7/cmin6, Cmin7 one bar, Cmin7/ D7 then another i,vi,ii,v in ebmaj back home, cool?.. Django could play walking bass lines have you hear 'You Rascal' Example... Three note chord viocings, very simple. play a Gmaj 6 thats a G on the bass string, E on the D string B on the g string (chuckle chuckle). next chord is the vi chord in G which is Emin but heres were your mind collapses. we substitute the minor 6 and turn it into a dominant chord thus E7, then we substitute that with a diminished chord using one of the guide tones from E7. After youve played the three note g6 move your fingers up one fret to Ab. then lower your your little finger by a semitone so the chord reads ab bass string, f on the d string and b on the g string (chuckle chuckle) this is a substitute of E7. next we move this shape up another semitone to A, keep the same shape this time and this becomes an Amin6 get it? the ii in Gmaj! to now play the v is easy you keep the same shape but put you root note as D the v in G. Aminor 6 and D7 are the same. Play these chords and not only can you play any i,vi,ii,v but your also playing I.ve Got Rythm and as you see you have a chromatic bass line. Is it walking maybe maybe not but by substituting chords and playing three note voicings your playing bass and chord as one chromatic harmony mmmmm!! you can embelish this further. play what i just showed you but stop when you get to the amin6 then with the same shape move it up another semi tone this is now a Bbmin6 right? it's also a Bb dim work it out. the next chord move up to B but this time we play first inversion Gmaj, B on the E string G on the D string D on the G string (boring joke now) now go back down the way you came Bbmin6 Amin6 D7 the Ab min6/dim and the Bbmin6/dim are what we call diminished passing chords, DSjango uses these all the time, listen to You Rascal and youll here exactly what im saying Have fun.... not tired bored englishman IP: Logged |
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