From: tgannon@charlie.usd.edu (spideir)
AUTUMN LEAVES (Joseph Kosma, 1947--jazz standard)
===============
-- chord chart arrangement by tcg, 198?, 1994
-- 4/4 // key of Em/G // Allegro (pretty fast)
[the way _I_ played it, at least!--
just to piss off Roger Williams...]
-- form: 32-bar--||: A(8)-A(8)-B(8)-C(8) :||
-- the lyrics? believe me, you DON`T want to know! . . .
-- each chord symbol = / / / /
[straight fours: chunk-chunk-chunk-chunk]
-- chords voiced for fingerstyle; may have to alter voicings
for plectrum (especially Em...)
A: Am7 Am6 GM7 GM6
5-55(5)- 5-45(5)- 3-44(3)- 3-24(3)-
Am7 Co7* Em Em [hold for 4]
5-55(5)- -3(4)24- 0-545- 0-545- [repeat A]
B: B7 B7 Em Em
-2424- -2424- 0-545- 0-545-
D7 D7 GM7 GM7
-5453- -5453- 3-443- 3-443-
C: Am7 B7 Em Em
5-555- -2424- 0-545- 0-545-
Am7 B7 Em Em [hold for 4]
5-555- -2424- 0-545- 0-545-
* Co7 is a substitute for the B7 chord in the sheet music; feel free
to interchange Co7 & B7 in tune [Co7 = B7b9(no root)].
In fact, the chords above can be viewed as a simple example of
jazz substitutions--
A section, sheet music: Am D7 G G Am B7 Em Em
jazz chords: Am7 Am6 GM7 GM6 Am7 Co7 Em Em
--the WHY`s:
1) Am-->Am7: in most cases, you can play a m7 for a minor to get a
jazzier sound (Santana & Steely Dan did it all the time--likewise,
in this tune, you could change all the Em`s to Em7`s...). Another
common jazz substitution line for the plain minor chord could also
be incorporated into this song: instead of Em Em, try Em(//)
Em(M7) (//) Em7(//) Em6 (//).
2) D7-->Am6: for a V7 chord in a major tonality (here, D7, in G major),
you can substitute the V9 (D7->D9); in addition, D9(no root)=Am6
[V9(no root)=ii6]; therefore, D7 becomes...Am6!, which follows
nicely, voice-leading-wise after the Am7.... (IT`s not MAG-ic....)
3) G-->GM7-M6: for the I (major tonic or key) chord, especially
long stretches thereof, the M7, M6, or both! can be played in lieu
of the boring plain major chord (though the M7 & M6 would sound
pretty weird in a country or folk progression!)....
4) B7-->Co7: see *note above; indeed, most diminished seventh chords
you`ll see can be explained as substitutes for some dominant
seventh-type chord....
LEAD notes: I`d tab out the schmaltzy melody, but the reason this
song is still being recorded by jazz people to this day is that
it`s a fun tune to improvise over (and by the way, only the Lord
knows why anyone would still want to sing the corny words!).
Since this song doesn`t modulate (unless you count GM<->Em, but not
really) it`s a lot easier to jam over than most jazz standards.
In fact, you only need TWO scales:
1. E natural (aeolian) minor (=G major!) scale: e-f-g-a-b-c-d-e
--this`ll fit all the chords except the B7 & Co7....
2. E harmonic minor scale: e-f-g-a-b-c-*d*-e
--this`ll fit over the B7 & Co7 chords: notice that the only
difference from the first scale is the d--in fact, it`s
actually easier to just think d instead of d when you
come to these chords than to worry about harmonic instead of
natural minor! oh, no!....
{3. For a little spice, try a diminished 7th arpeggio over the Co7 &
B7 chords: c-d-f-a (true, these tones are in the harmonic
minor scale given above--just a slightly different approach):
______ --try playin` from low to high and back, then experiment
I ||1||| on your own--right, just every three frets in any
|||1|1 direction!...
|3||||
||4|3|
|||4|4
||||||
--Now lay down the rhythm track, and go fer it--
FINALLY, the sound of these chords (and associated scales) does
take a lot of getting used to--even after you get the rather
difficult fingerings down (took me months), there`s still the
matter of acclimating your ears to actually _liking_ the sound of,
say, a M6/9b5 chord (took me years!). But if the plain old G-C-D
stuff is gettin` yu` down, and you also realize you`ll never be
a great speed-metal lead picker--well, this is one logical direction
of development. . . . Oh, a M6/9b5? :: CM6/9b5: - 3 2 2 3 2 .
Beautiful-ugly, ain`t it?!
|
--:--tcg
)
