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Thread: "I can't give you anything but love"

  1. #1
    Registered User Brian Ray's Avatar
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    I've been working on "I can't give you anything but love" and thought I would share. I came up with this basic take on it. Feel free to comment, correct, pillage or add...

    G # # #455x # //
    Am7 223x # /
    D7 # #243x # / # (545x)
    G # # #455x # //
    Am7 223x # /
    D7 # #243x # / # (545x)
    G7 # #435x # //
    C # # #523x # // #(walk down on G)
    A7 # #224x # // #(657x)
    Am7 223x # /
    D7 # #243x # / # (545x)

    G # # #455x # //
    Am7 223x # /
    D7 # #243x # / # (545x)
    Dm7 525x # //
    C # # #523x # ///
    C#m 624x # /
    G # # #455x # / # (walk whole chord down)
    E7 # #102x # /
    Am7 223x # /
    D7 # #243x # / # (545x)
    G # # #455x # /
    D7 # #545x # / #

    I like this turn around instead of the last G and D7. Play 1/2 bar for each chord...
    G(455x) #• Em7(354x) #Am7(223x) #•# D7(243x) #•

  2. #2
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    I think you've got a chord missing...the second measure should be Gdim (354x would work) the same everywhere you have 2 measures of G.

    Also an alternative to your walkdown from G on the C chord is voice leading on top C Cmaj7 C6 (32O on the A string)

  3. #3
    Registered User Brian Ray's Avatar
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    I like following the melody on the G. Eg:
    G(455x) • G/F(445x) + G6(422x)
    Am7 223x #
    etc...

  4. #4

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    I transposed this to C and wrote it out polyphonically, chord and melody together working in contrary and/or parallel motion. In C, you have a lot of room to walk before you have to turn around or invert. also, just check out the way the "voice" sounds in that range, on the mandolin particularly. (for mandolin) I tried G, but lost chromatics on the mandolin, works great on guitar though. it sounds real nice and good practise for polyphonic playing. you can check it out if you like, I can real mail it to you. I also did this to georgia on my.. (G) I only write it one time thru, then you gotta improv. #I did a bunch, I cant remember them all, but they are mostly tunes played by the "hot club" # email me if you want.




  5. #5
    Registered User Pete Martin's Avatar
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    You may want to make the 2 beats of Dm7 into one beat of Dm7 and one beat of G7 (4th chord change in the second half of the tune).

    There are so many options for chord substitution in jazz tunes, that there is no one "right" way the chords go in my opinion. There are options one player probably likes better than others.

    I like to find the essential chords with out any substitutions and work "up" from there. A good source for these basic versions is a web site called "The Vanilla Book". Search for it.
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  6. #6
    Chief Moderator/Shepherd Ted Eschliman's Avatar
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    Quote Originally Posted by (petimar @ April 07 2004, 11:57)
    You may want to make the 2 beats of Dm7 into one beat of Dm7 and one beat of G7 (4th chord change in the second half of the tune)...
    A good source for these basic versions is a web site called "The Vanilla Book". #Search for it.
    Ahh, the Stiernberg Substitutions... replace a dominant (or in this case dominant prep) with a 'ii V7.'
    Good call.
    As far as the Vanilla Book, search no farther:
    Ralph Patt Jazz Web Page. (Good one to bookmark!)
    Ted Eschliman

    Author, Getting Into Jazz Mandolin

  7. #7
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    Thanks so much for this thread. This was my mother's favourite song, and every time I read the title I hear her singing it. Indelibly etched into my brain. thankyou thankyou thankyou.

    I am coming back from 2 months away from mando due to right wrist damage, this is a great welcome back present for me.

    Bruce in Adelaide, South Australia
    Living every day of it.

  8. #8
    Registered User Brian Ray's Avatar
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    My pleasure...

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    Thanks all, the Ralph Patt site is great. #My passion is Irish Trad but this is fun stuff...

    So little time...

    Brian Coakley

  10. #10
    Chief Moderator/Shepherd Ted Eschliman's Avatar
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    I was just listening to a relatively recent Diana Krall recording of this tune; her band uses a powerful common substitution (as Pete has already mentioned) for just the first four measures. Great for energizing some static changes:
    G # # C7 # # Bm7 ##Bb7 # # #Am7 # # # # # # ##D7
    / # / # / # / #| #/ # / # / # / # | # / # / # / # / # | / # / # / #/ #|

    or sub Bm7b5 for Bb7
    or sub E7+9 # #for Bb7
    and of course you could precede the D7 with two beats of Eb7
    / = one beat
    | = measure mark
    Ted Eschliman

    Author, Getting Into Jazz Mandolin

  11. #11
    Registered User Pete Martin's Avatar
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    Good changes, Ted. Nice modern sound. Is it played with a laid back tempo? If so, it would also sound cool to start the second half of the tune on a G7 type sound and use the other chords you've mentioned ("Gee I love to see you lookin swell").
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  12. #12
    Chief Moderator/Shepherd Ted Eschliman's Avatar
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    Pete;
    She doesn't do it too slow, but one thing she's got going for her is a real driving bass line underneath. (The circle of 5ths/tritone sub fares much better with that sort of harmonic "definition").
    Texture would be crucial here also, I think the first verse she does the bass (left hand only) on grand piano, adds a light comping guitar line, and brings in the upright bass. With that "sparseness," she also gets to show off her exquisite jazz vocal chops and all its nuance.
    'G7' would also contribute the the "circle of 5ths" harmonic drive. Good suggestion.
    Ted Eschliman

    Author, Getting Into Jazz Mandolin

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