Does anyone know the chord changes to Re:Person

[skeith]

Guitar chords preferred.

Edited January 11, 2012 by skeith

[jeffcrom]

Here's the chart Evans wrote out for Chuck Israel, reproduced in the complete Riverside booklet.

[skeith]

Here's the chart Evans wrote out for Chuck Israel, reproduced in the complete Riverside booklet.

Wow... doesn't get more authoritative than that!! Thank you very much!!

[Ted O'Reilly]

Here's the chart Evans wrote out for Chuck Israel, reproduced in the complete Riverside booklet.

It's Chuck Israels BTW. A singular player but a 'plural' name...

[jeffcrom]

Here's the chart Evans wrote out for Chuck Israel, reproduced in the complete Riverside booklet.

It's Chuck Israels BTW. A singular player but a 'plural' name...

I know that, but I seem to be incapable of typing a simple post without at least one mistake.

[DukeCity]

Is there a reason that some of the 7s in the chord symbols have slashes through them?

I've heard of some notation system where slash/no-slash indicates Major 7th vs. Dominant 7th (can't remember which) but in the Evans example, they're on minor chords.

[Big Wheel]

Is there a reason that some of the 7s in the chord symbols have slashes through them?

I've heard of some notation system where slash/no-slash indicates Major 7th vs. Dominant 7th (can't remember which) but in the Evans example, they're on minor chords.

Good catch. I checked quickly and it sounds like most if not all of the minor chords that have the slash are actually min(maj7) chords, i.e., corresponding to the melodic minor scale and not the dorian mode. I guess the slash means min(maj7), whereas no slash means dorian?

You can pretty clearly hear Evans changing the F# (the major 7th of G minor) in bar 3 to an F in bar 4 here at 3:45:

Not sure if the slash has any significance to Evans on non-minor chords, but the more I think about it the more I suspect it does. I can't check the rest right now because I'd wake everyone up here but I think the way it works is:

C7 (with slash) = C major 7

C7 (no slash) = C dominant 7

So the second chord "C7#5" (with slash) actually isn't an altered dominant at all but most likely a major 7 #5 chord - in other words, corresponding to the 3rd mode of melodic minor. And the Db7(b5) in the last bar (again, with slash), isn't a dominant chord either but a major 7 #11 chord. Makes sense to me - if these chords were dominant chords the tune would sound much less ethereal than it does.

Edited January 12, 2012 by Big Wheel

[JSngry]

I got an old fake book from the late 60s/early 70s, had all the 60s Miles tunes in it...a slashed seven definitely means major 7th. Somebody told be once that that was the "French system", but the guy I got the book from was a bass player from Kentucky.

[DukeCity]

1326345909' post='1166662']

I got an old fake book from the late 60s/early 70s, had all the 60s Miles tunes in it...a slashed seven definitely means major 7th. Somebody told be once that that was the "French system", but the guy I got the book from was a bass player from Kentucky.

Maybe Evans picked up that system in his studies at Southeastern Louisiana University. I hear they got some fancy ideas in all them there music theory books and what-not.

[Pete C]

Somebody told be once that that was the "French system", but the guy I got the book from was a bass player from Kentucky.

French Lick, Indiana is only about 70 miles from Kentucky.

[JSngry]

That's a long tongue...(no Hemphill pun intended)

[skeith]

Here's the chart Evans wrote out for Chuck Israel, reproduced in the complete Riverside booklet.

Wow... doesn't get more authoritative than that!! Thank you very much!!

Spoke too soon. I have been playing around with this tune. I assume Evans put these chords out as general guidelines and not the exact chords which were played.

I have found some other transcriptions and listened to the music very carefully and to my ears, the chords are much more complicated than the ones Evans wrote out.

[Sundog]

[Big Wheel]

I assume Evans put these chords out as general guidelines and not the exact chords which were played.

Based on the little bit I've learned about the way Evans worked that's a good assumption. Harmonic signposts not necessarily meant to be played as wrote. He never really rehearsed his groups, so a brief explanation or impromptu "chart" to convey the general plan for a recording, with plenty of room for improvision within that context, was probably more often that not all he ever offered up.

Perhaps skeith could be more specific in what he means by "more complicated"? There is not much harmonic substitution that I can hear in the versions of the tune I am familiar with. However, there are a lot of extensions in the changes Evans is comping, which is standard practice among piano players after the late 1950s. If by "more complicated" you mean that you are hearing 9ths and so forth where none are notated, you may want to find a jazz theory book to familiarize yourself with typical chord/scale theory and notation.

[skeith]

I assume Evans put these chords out as general guidelines and not the exact chords which were played.

Based on the little bit I've learned about the way Evans worked that's a good assumption. Harmonic signposts not necessarily meant to be played as wrote. He never really rehearsed his groups, so a brief explanation or impromptu "chart" to convey the general plan for a recording, with plenty of room for improvision within that context, was probably more often that not all he ever offered up.

Perhaps skeith could be more specific in what he means by "more complicated"? There is not much harmonic substitution that I can hear in the versions of the tune I am familiar with. However, there are a lot of extensions in the changes Evans is comping, which is standard practice among piano players after the late 1950s. If by "more complicated" you mean that you are hearing 9ths and so forth where none are notated, you may want to find a jazz theory book to familiarize yourself with typical chord/scale theory and notation.

Right, I was referring to the fact that other transcriptions have chords with more extension like 9ths,11ths, 13ths, augmented chords and the like which is not really how Evans wrote out the changes above.

[Free For All]

I assume Evans put these chords out as general guidelines and not the exact chords which were played.

Based on the little bit I've learned about the way Evans worked that's a good assumption. Harmonic signposts not necessarily meant to be played as wrote. He never really rehearsed his groups, so a brief explanation or impromptu "chart" to convey the general plan for a recording, with plenty of room for improvision within that context, was probably more often that not all he ever offered up.

Perhaps skeith could be more specific in what he means by "more complicated"? There is not much harmonic substitution that I can hear in the versions of the tune I am familiar with. However, there are a lot of extensions in the changes Evans is comping, which is standard practice among piano players after the late 1950s. If by "more complicated" you mean that you are hearing 9ths and so forth where none are notated, you may want to find a jazz theory book to familiarize yourself with typical chord/scale theory and notation.

Right, I was referring to the fact that other transcriptions have chords with more extension like 9ths,11ths, 13ths, augmented chords and the like which is not really how Evans wrote out the changes above.

Yeah, it's common practice to write out chord progressions without all the harmonic detail (which is usually left to the performer to choose). I often will just write "D7" and let the player choose what extensions to add. If I want something very specific I'll write a more detailed chord symbol, like "D9(#11)", etc. I think the goal is to allow more interpretive freedom and avoid restricting the player with too much specific information.

I'd forgotten about the slash-through-the-7 style of writing chord symbols. That was confirmed by looking at the other "lead sheet" (from the Riverside booklet) on Time Remembered. I'm more familiar with that tune and clearly saw use of the major seven slash. Good catch Glenn!

[DukeCity]

I've been burned a Time or two by that convention when having to sight read blowing changes on a gig. Usually sorts itself out pretty quickly, but can initially be rather jarring.

[Free For All]

I've been burned a Time or two by that convention when having to sight read blowing changes on a gig. Usually sorts itself out pretty quickly, but can initially be rather jarring.

Some people are so picky about their sevenths.