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Autumn Leaves

 
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caveman
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PostPosted: Thu Apr 22, 2004 12:44 pm    Post subject: Autumn Leaves Reply with quote

Hi,

Can anyone help me with the Autumn Leaves song?

If anyone could advice me the scales options on the E-7, Eb7, D-7, Db7 and Cmaj7 progression. The melody keeps playing the B note.

I can cover all the other chord progressions of the song, but I'm a little bit confusing on this part of the song.

Best wishes,

Diogo
Portugal. Cool
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Anton
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PostPosted: Fri Apr 23, 2004 6:30 am    Post subject: Autumn Leaves Reply with quote

Hi,
That's pretty basic progression, which could be considered as III7-bIII7-II7-IIb7 - I (in Cdur). bIII7 and IIb7 -are tritone substitutions of VI7 (A7) and V7 (G7). In other words, this progression could be considered as III7-VI7-II7-V7 - I - should be easier to cover.

However, I advise you to learn tritone substitution technique more in detail- it provides with enormous opportunities for improvising. You will sound more professionally, believe me. Some initial ideas and theory see here:

http://guitar-masters.com/Subst/Jazz3.html

By the way, how does your whole progression for this song look like?

Regards,
Anton
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caveman
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PostPosted: Fri Apr 23, 2004 1:13 pm    Post subject: Reply with quote

Hi again,

I have the sheet music of the song from the RealBook, here are the chord progressions from the realbook version of Autumn Leaves:

[A-7;D7;Gmaj7;Cmaj7;F#-7b5;
(1)B7;E-;E-(repeat and then jump to n. 2)]
(2)B7;E-;E-;F#-7b5;B7b9;E-;E-;A-7;D7;Gmaj7;Gmaj7;F#-7b5;B7b9;
==> E-7;Eb7;D-7;Db7;Cmaj7; <== B7b9;E-;E-

The song is in G major.

I am using the G major scale over the chords between A-7 and F#-7b5 (II-V-I-IV-VII of G major).

For the chord progressions in (1) (B7 and E-) I am using the E melodic minor scale. (V-I of E melodic minor).

For the chord progressions in (2) (B7;E-;F#-7b5;B7b9;E-) I am using the E harmonic minor scale. (V-I-II-V-I of E harmonic minor)

Next (A-7;D7;Gmaj7) I go back to G major scale. (II-V-I of G major scale).

After that (F#-7b5 and B7b9) I use E harmonic minor again. (II-V of E harmonic minor scale)

The chord progressions between ==> <== was the part of the song that I didn't understand, but as you explain, I can use C major scale, using Eb7 as a tritone substitute for A7 the VI of C major, and beeing the A7 a secondary dominant of D-7 the II of C major and the next chord in the sequence of the progression is indeed the D-7, and using the Db7 as a tritone substitute for G7 the V of C major and resolving finaly to the Cmaj7 the I.

Resuming between the ==> <== marks I have E-7;Eb7 (or A7);D-7;Db7 (or G7);Cmaj7. Using the C major scale. (resolving all to III-II-V-I of C major scale).

And again (in the B7b9 and E-) I use E harmonic minor scale. (V-I of E harmonic minor).

Tank's for the help!

Diogo from Portugal! Cool
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caveman
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PostPosted: Wed Apr 28, 2004 10:48 pm    Post subject: Reply with quote

Hi again,

I just have a question Anton.

In the part of the song ==> E-7;Eb7;D-7;Db7;Cmaj7; <==, since the Eb7 is a substitute for the A7, then we would have a 2-5 of D major, beeing instead of the 5 the 2b substitute chord. And again two frets lower the same thing, i.e., Db7 a substitute for G7, then we would have a 2-5-1 progression in C major, and in thi case a 2-2b-1.

Since the melody keeps playing a B note arround this progression, we could have something like this:

E-7;Eb7;D-7;Db7;Cmaj7
2 2b 2 2b 1
---------;------------------
Dmajor Cmajor

Am I wrong? Am I missing something? Any ideas?

Tank's

Diogo from Portugal.
Cool
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Anton
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PostPosted: Thu Apr 29, 2004 8:53 am    Post subject: Autumn Leaves Reply with quote

Well, first I would say that this tune is in E-min rather than G-maj Very Happy
I didn't have time to explore your ideas on scales you're using over it, sorry - let's get back to it later.

As for the progression we're discussing - yeh, I think you got the point.
As I understand, there may be different approaches, you can either consider it as the two separate pieces of the same model II-V-(I), one in D, other in C, or as a longer section of C (III-VI-II-V-I).

Here are some more lessons on tritone substitute and II-V-(I) model:
http://www.jazzguitar.com, lessons 11 and 12.

Diego, I guess you're in Portugal playing not only football Smile so whom among your jazz guitarists you would recommend?

Cheers,
Anton
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PostPosted: Thu Apr 29, 2004 9:02 am    Post subject: Reply with quote

Tank's Anton,

Here in Portugal there are plenty of terrific jazz players, the only problem, is that they don't have any support, so noone, NOT EVEN A SINGLE ONE, is (pratically) knowned outside (Sometimes even inside)
Portugal.

"...or as a longer section of C (III-VI-II-V-I). "

The problem, is that if I consider the whole progession in C, everything looks ok, with the exception of the VI, wich in instead of a VI-7, would be a VI7. But again since the difference between the two chords is the 3rd, wich in turn is a 3rd major instead of a 3rd minor (Db).

Diogo from Portugal
Cool
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PostPosted: Mon May 03, 2004 1:14 pm    Post subject: Re: Autumn Leaves Reply with quote

[quote="caveman"]Hi,

Can anyone help me with the Autumn Leaves song?

Hello Caveman,

You can go here :

http://www.justjazz.com/ed/saut.txt

You can find in this Url a fun stuff. Laughing

Rabe
Laughing
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bluenote908
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PostPosted: Mon May 03, 2004 5:33 pm    Post subject: autumn leaves Reply with quote

The above information appears to be pretty nebulous (and incorrect.) Here's something a little more basic. Autumn leaves is generally played in the key of Bb major (G relative minor.) Therefore, it is theoretically possible to use a Bb major scale (raised 7th) throughout the whole tune, but a G minor scale will sound better. Experiment with raised and lowered 7ths, as well as chord extensions, to add interest, but if you stick to the G minor scale, you can't go wrong.
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PostPosted: Tue May 11, 2004 4:32 pm    Post subject: Reply with quote

I believe my information was not incorrect!

First of all as I refered previously in my messages I was analysing the version from the realbook, wich starts in Am7 and is written all in Gmajor. One thing that I agree is that it is all centered arround the relative minor tune, in this case the E minor. That's why I am using a little more interesting lines with the Harmonic and Melodic minor scales around some chord progressions, wich in turn, these chord progressions and melody work just fine with those scales!

But of course you could use E minor blues for example, it works just great and it's a lot of fun, but if you want a more jazzier sound, I believe You can have some ideas with the scales I provided You.

P.S.-> Those scales provided before were teached by an excelent jazz music professor.
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PostPosted: Tue May 11, 2004 8:07 pm    Post subject: Reply with quote

For a general overview of scales to play over chords, try this:

http://members.w-link.net/~jsss/
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