Does anyone know where I can find some chord charts for anything of the album Kind of Blue. I basically just want the chord pregression...I have a basic knowlage of notation (still learning) and I am also practicing my walking line skills so it would be nice to have the charts. does anyone have them? or know where i can get them for free of the net? cheers.
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Double Bass anywhere know where i can get some miles davis charts
- Thread starter Rowan_Jazz_Head
- Start date
there is an excellent book out called "Miles Davis, Kind of Blue" with Transcriptions of the classic album. it doesn't have ALL the bass parts, but it does have quite a bit of Paul Chambers' parts, including some of his walking lines from So What, and that classic bassline ffrom All Blues....its really a great book and it has the complete solos transcribed of all the horn parts
an excellent learning source
an excellent learning source
thanks very much, I will try and get hold of the book. If anyone knows the chord progression it really would be appreciated if they could post them. but thanks for your help.
I don't know about Flamenco Sketches - I've never listened to it much but the others are all very simple. You might want to think about getting the Jamey Aebersold Vol. 50 album. It's got the other four tunes from the album plus two of the greatest tunes ever played with the second Miles quintet (Joshua and Seven Steps To Heaven) plus the great Nardis (which Miles wrote but never recorded).
All Blues and Freddie Freeloader are just blues with a twist. On the former the bass plays a specific line. On the latter the twist is the last two bars. So What is 16 bars of D- followed by 8 of Eb- followed by 8 of D-. Blue In Green is the most advanced harmonically.
All Blues and Freddie Freeloader are just blues with a twist. On the former the bass plays a specific line. On the latter the twist is the last two bars. So What is 16 bars of D- followed by 8 of Eb- followed by 8 of D-. Blue In Green is the most advanced harmonically.
I read a funny story in Bill Crow's "Jazz Anecdotes" about how Lee Konitz was asked by the Smithsonian to do a concert doing the Nonet arrangements from Miles' "Birth of the Cool." He called Miles to ask about the whereabouts of the charts, but Miles was evasive. So Lee had a team of arrangers laboriously recreate the charts.
Later, Konitz triumphantly called Miles to say that they had recreated all the "Cool" charts. Miles said, "Man, you should've asked me. All those mothers are in my basement!"
Later, Konitz triumphantly called Miles to say that they had recreated all the "Cool" charts. Miles said, "Man, you should've asked me. All those mothers are in my basement!"
I think I might have tried to kill Miles if I'd played with him. I think it CERTAINLY would have happened at someone else's hand if the magic hadn't have been coming out of the horn every day. The top-paying gigs, too, I suppose.
As Adrian says, those tunes are straightforward to approach and to learn. Not easy at all to play well and to take extended solos on. Various fake books, the Aebersold stuff, etc. Not hard to come by if you look in the right places.
If, on "So What", you play any note outside of D or Eb dorian, don't tell anyone around here. It's not even safe calling those tunes "simple".
As Adrian says, those tunes are straightforward to approach and to learn. Not easy at all to play well and to take extended solos on. Various fake books, the Aebersold stuff, etc. Not hard to come by if you look in the right places.
If, on "So What", you play any note outside of D or Eb dorian, don't tell anyone around here. It's not even safe calling those tunes "simple".
Those tunes are simple to remember and simple to play. However they are very hard to play WELL. Anybody can play any note in a Dorian mode but to string it all together and make it sound good over a couple of heads is another thing altogether. I play passing notes outside the Dorian modes in both my bass lines and solos when I play on "So What". However mostly outline Dorian.
We had a little thing here a while back in another thread on this topic, with a newbie asking about ideas for soloing over "So What". I offered the ideas of listening to Miles' solo, of trying to use relatively few notes to play with the space between notes, to try rhythmic variation, and to try a bit of blues.
Personally, I like the sound of some flat 5's in "So What" and have played them without shame. It's a little bit of earthy blue tone in there and it shocks a bit by being outside dorian. There are some around here, though, who opine that if ain't dorian, it doesn't belong in "So What".
My own opinion is that Miles would have scoffed at such "rules", especially over 40 years after the fact, but what do I know?
I agree fully, BTW, that the tunes are easy to pick up but "difficult to play well." Depending on your definition of "well", "Happy Birthday" can be a challenge.
I still say it's a great tune for getting newcomers used to the idea and the feel of improvising over simple changes. They won't sound like Trane or Wayne Shorter with their musical ideas, but they're learning!
Personally, I like the sound of some flat 5's in "So What" and have played them without shame. It's a little bit of earthy blue tone in there and it shocks a bit by being outside dorian. There are some around here, though, who opine that if ain't dorian, it doesn't belong in "So What".
My own opinion is that Miles would have scoffed at such "rules", especially over 40 years after the fact, but what do I know?
I agree fully, BTW, that the tunes are easy to pick up but "difficult to play well." Depending on your definition of "well", "Happy Birthday" can be a challenge.
I still say it's a great tune for getting newcomers used to the idea and the feel of improvising over simple changes. They won't sound like Trane or Wayne Shorter with their musical ideas, but they're learning!
I will definitely play the occasional flat 5 to incorporate a blues element at times but most of the time I will clearly include the B natural over D-. If you listen to PCs bass lines, he plays a lot of B flat.
I agree totally that these are some of the best tunes for beginners because firstly they can forget about so many chords, secondly it encourages them to not play the root on one all the time, and thirdly the original recordings encourage a style of playing that is a lot more minimalist and a lot of people can benefit from that. To be able to make your statement in as few notes as possible is at times a wonderful thing. If we're talking exclusively about bass players then they're better off learning to sound like Miles than Trane anyway because at least while they're still beginners, bassists are not equipped to play sheets of sound.
I agree totally that these are some of the best tunes for beginners because firstly they can forget about so many chords, secondly it encourages them to not play the root on one all the time, and thirdly the original recordings encourage a style of playing that is a lot more minimalist and a lot of people can benefit from that. To be able to make your statement in as few notes as possible is at times a wonderful thing. If we're talking exclusively about bass players then they're better off learning to sound like Miles than Trane anyway because at least while they're still beginners, bassists are not equipped to play sheets of sound.
Those first 3 notes from Miles' "So What" solo: we need more bass players who have that kind of melodic sensibility.
Well as has been mentioned they are all very simple structures and the charts from the recording sessions actually specify modes rather than chords on some tracks.
'So What' is just D Dorian for 16 bars then up a semitone for 8 bars then back to D Dorian for another 8 bars.
"Flamenco Sketches" is 5 modes :
C Ionian
Ab Mixolydian
Bb Ionian
D Phrygian
G Dorian
"Freddie Freeloader" is :
4 bars Bb7
2 bars Eb7
2 bars Bb7
F7 / Eb7/Ab7/Ab7
"Blue in Green" is :
GMin7(13)/A7+9/DMin Db7+4/CMin F7b9/BbMaj7+4/A7+9/DMin/E7+9/AMin(Maj7)/DMin
"All Blues" is distinctively in 6/8 and starts with a vamp around G7.
The form is :
4 bars G7
2 bars C7
2 bars G7
D7+9/Eb7+9 D7+9
2 bars G7
