[distressed_romeo]

At the moment I'm broadening my vocabulary of chord voicings, and working at comping through standards. I know working through a fakebook is important, but can people suggest some typical jazz changes to work at, the kind that are the building blocks of most standards?

So far I'm working at...

2-5-1
3-6-2-5-1
'Coltrane Changes'
Blues changes

[SevenDeadly]

listen to some bitches brew and try to emulate miles, even though it's beyond "jazz".

[telecaster90]

2-5-1's, Coltranes, and the 12 bar blues is all I can think of.

[Drew]

Originally Posted by distressed_romeo

2-5-1
3-6-2-5-1

Note that the 3-6 is, relative to the 2, just another 2-5-1. In other words, practice your 2-5-1's.

also, whether the chords are major or minor matters a lot here - verbally, they're called "2-5-1's," but written out you usually follow jazz notational standards and call them ii-V-I's. Which leads me to wonder if the 3-6-2-5-1 really isn't a iii-VI-II-ii-V-I. Otherwise, I suppose a iii-vi-ii-V-I would be harmonically correct, even if the former is more in keeping with my understanding of jazz harmony (it works by treating a chord other than the tonic as, temporarily, the tonic - a sub-tonic, if you will).

Somewhere I've got a notebook with some good jazz excersizes in it for comping. I'll try to dig it up tonight or tomorrow - there's a great ii-V-I that I should probably type up and powertab, as if nothing else it's a great crash course in 3- and 4-note 7th chords.

[distressed_romeo]

Originally Posted by Drew

Note that the 3-6 is, relative to the 2, just another 2-5-1. In other words, practice your 2-5-1's.

also, whether the chords are major or minor matters a lot here - verbally, they're called "2-5-1's," but written out you usually follow jazz notational standards and call them ii-V-I's. Which leads me to wonder if the 3-6-2-5-1 really isn't a iii-VI-II-ii-V-I. Otherwise, I suppose a iii-vi-ii-V-I would be harmonically correct, even if the former is more in keeping with my understanding of jazz harmony (it works by treating a chord other than the tonic as, temporarily, the tonic - a sub-tonic, if you will).

Somewhere I've got a notebook with some good jazz excersizes in it for comping. I'll try to dig it up tonight or tomorrow - there's a great ii-V-I that I should probably type up and powertab, as if nothing else it's a great crash course in 3- and 4-note 7th chords.

Thanks!

I'm already practicing them in minor and major keys, and in all keys and positions, with a mix of all the different voicings (close voicings, drop 2s and drop 3s).

I know the iii-vi-ii-V-I's actually a regular ii-V-I with an extra ii-V at the beginning, especially given that the iii is usually a iii7 secondary dominant, but most jazzers recommend practicing that sequence anyway.

Oh, I've found 'rhythm changes' (I-VI-ii-V) are another one to practice as they crop up everywhere.

[jacksonplayer]

Originally Posted by SevenDeadly

listen to some bitches brew and try to emulate miles, even though it's beyond "jazz".

Does that even have "changes" as such? I love Electric-era Miles, but a lot of it always seemed to be random electronic soup over an ostinato bass line.

[distressed_romeo]

Originally Posted by Drew

Which leads me to wonder if the 3-6-2-5-1 really isn't a iii-VI-II-ii-V-I. Otherwise, I suppose a iii-vi-ii-V-I would be harmonically correct, even if the former is more in keeping with my understanding of jazz harmony (it works by treating a chord other than the tonic as, temporarily, the tonic - a sub-tonic, if you will).

You know, I didn't realise that when writing Roman numerals for chord symbols, that upper-case numerals are major, and lower-case ones minor. I learnt something tonight!

[SevenDeadly]

Originally Posted by jacksonplayer

Does that even have "changes" as such? I love Electric-era Miles, but a lot of it always seemed to be random electronic soup over an ostinato bass line.

are you peaking through the cut out corners of your cardboard box?

[distressed_romeo]

Originally Posted by SevenDeadly

are you peaking through the cut out corners of your cardboard box?

What the fuck?

He's right you know...that era of Miles' music was based more on vamps than changes.

[Drew]

Originally Posted by SevenDeadly

are you peaking through the cut out corners of your cardboard box?

I'm not sure if you two know each other and are just doing some friendly ball-busting, or if you're trying to be a dick. If it's the later, I wouldn't really recommend it.