i Pre 4 . er e@ Martin Tayior weaves his jaz spell on Harold "Aren’s ‘ver The Rainbow M4. Inodicton| Dorothy takes 3 lea out ‘of Kartin Taylors book ‘OVER THE RAINBOW’ This month, we're going to follow the yellow brick road to a jazzier place where all you need is a heart his month’s tune was requested by a There are so many misconceptions about jazz Its a shame because it puts people off the music as.a whole, believing it to be brash, discordant and unlistenable ~ and that’s only its good points, Its true to say that jazz uses a richer harmonic palette than much of rock and pop and that, ike The Wizard of Oz and was sung by Judy Garland. classical musi, it ays more in the way of Quite few songs have made the crossover into contrast herwee 7 the jazz repertoire from the movies, even more But generally 1 from Broadway s faarly simple in sprung from the pop 1 of the hi people have heen tryin simple d ever since! aC chord, the likelihood is that you'l see this:Gm ies ENE A jazz player is far more likely to employ a chord based on the C major triad CraC EG e 1c ated Furthermore, it might be ‘extended’ ike this: Ciel to as EIGEN fa ESET Or this: Ona Co ET Ge BNO SR TEA ‘As you can see, we're dealing with much igger chords ~ that isto say that they merely have more notes in them. In this way, jazz harmony is automatically more dense- sounding, but none of the ‘jazz chords’ above are in any way dissonant or ugly. Similarly, if we begin to discuss dominant chords, we find that a blues or rock player might play a straightforward seventh or ninth cae SSO 1 ieee lea cae [panel eal eal) 1 SOTO Sa WE) But a jazz player would probably choose to cextend these chords too, and these extensions may include some chromatic step scale tones in between the Capac A EN GE ‘aS paw. 75 ie eal ed {AGEN SLY These chords need careful handling to fit into the context of a piece without sounding ‘wrong bout, when dealt with creatively, they fit perfectly. One thing 1 do in my solo playing is to play ‘excerpts’ from chords ~ sometimes only two notes, But instead of these two notes representing. the root and fifth, as in a rock context, they could bee root and flat seventh or flat seventh and third. Once again, if this is carried out creatively, the listener doesn't sense anything missing. In way, they wil still hear the full harmony If you study the arrangement of this month's piece, you'll see that most of the har supports the melody ss infact straightforward, ‘consonant stuff with neatly pruned chords and a Iie dissonance included to spice things up in places. ave fun with “Over the Rainbow" Next month we're doing to look at my arrangement of Mona Lisa’ from my new album Kiss And Tell more martin “To kep abreast of Matin Taya creer pefermaees and CD teases ete wit for newseter to Marin Toy FO Bac 8903 Maytoe, Avie R12 77 IF yau enjoy the seas sur onthe mere checkout uarns wee a wnmmarintarcor martin's sted gear sed my Yara AE 1500 ect the dest wt 3 Ine bent eer to reer ths ace Rear dts wert ‘eeertaten by The Be Biting Ginga army sree thant go to Drew Melo ar Lary Prion oe jargon buster a FeMeNtaER tems A Se sgn re ly oie an page 92 © 1938 EMI Catalogue Partnership and EMI Fest Catalog Inc USA. “Over The Rainbow. Words and music by EY Harburg and Harold Arlen. ctlide pint proces by petmsson oF controled by Daas 0 ANT A780 A7euDND ATO Dado 0 may? 06 a> = november 1999 | guitar techniques | 57harold arlen ‘over the rainbow’ AND ATS EMI A129 Gim75 cHa8 Fim Gemris ~ ee aea Rt ckEmaqaa) A ataig a6 tie 6 5 5 3 3 $ 8 a ATID. AT»SID ATeueND 71D Fimtt Brive) Emit An ano ee oy Fim owes | = . 2 b 8 steno 19-7 eee 0 $ 3 —— 3 Sa eee = . emia Ataie inti crave Fmt ‘im7is led [november 1999 | guitar techniques | 59harold arien ‘over the rainbow’ — 5 3 z ; cea aria een SES ale cae SRC Eee