F9#4
  E|-------|    
  C|-------|    
  A|-12----| 3rd   
  G|-12----| 9th   
  E|-11----| b7   
 C#|-10----| #4
 

      COOL BLUES – Charlie Parker
      Jazz blues – Bop
      Tabbed by Jesse Pearson
      C6/A7 Tuning

      C                     F7               C            C7
   E|----------------------|----------------|------------|----------|
   C|---------------12-11--|------------7---|------------|----------|
   A|---12---------------12|-10-------7---5-|---5--------|----------|
   G|-12--12-----12--------|---10-----------|-5----------|----------|
   E|-------12-13----------|-----10-5-------|------------|----------|
  C#|----------------------|----------------|------------|----------|

      F7                      F7               C            Em7 Ebm7
   E|-----------------------|----------------|------------|----------|
   C|----------------12-11--|------------7---|------------|----------|
   A|---12----------------12|-10-------7---5-|---5--------|----------|
   G|-12--12---10-12--------|---10-----------|-5----------|----------|
   E|-------11--------------|-----10-5-------|------------|----------|
  C#|-----------------------|----------------|------------|----------|

      Dm7                    G7               C
   E|----------------------|----------------|------------|----------| |
   C|---------------12-11--|------------7---|------------|----------| |
   A|---12---------------12|-10-------7---5-|---5--------|----------| |
   G|-12--12-----12--------|---10-----------|-5----------|----------| |
   E|-------12-13----------|-----10-5-------|------------|----------| |
  C#|----------------------|----------------|------------|----------| |

[This message was edited by Jesse Pearson on 30 December 2005 at 08:48 AM.]

       C                           F7               C            C7
           3      3
         _____  _____ 
       | |   |  |   |
   E|----3-5-3--0-3-0-----8-7---|----5-----------|------------|----------|
   C|--4--------------5-7-----9-|--7-5------7----|------------|----------|
   A|---------------------------|--7-----7----5--|---5--------|----------|
   G|---------------------------|----------------|-5----------|----------|
   E|---------------------------|----------------|------------|----------|
  C#|---------------------------|----------------|------------|----------|

[This message was edited by Andy Volk on 08 February 2004 at 04:54 AM.]

Aloha,
DT~

[This message was edited by Denny Turner on 08 February 2004 at 07:45 AM.]

Did you catch the foreward slant in Bar 5 on strings 5, 4, and 3. The slant seems to bring out the sound of the b7 of the F7(Eb) better (b3rd of the C scale)and make it easier to play. See how the 3rd of the C and the b7 of the F7 are important tones against their chords and the line, plus they are just a half step away from each other. We could just as easy look at C as C7 and resolve from it's b7(Bb) to the major 3rd of the F7 (A), again smooth voice leading between chords when they change.

The last approach is one of the most common for good voice leading in a
ii-V-I progression. You have to look for this and get used to finding it as the chords change from one to the other.

[This message was edited by Jesse Pearson on 10 February 2004 at 08:28 PM.]

        G7
                                                
E   ---------------------------------3--4--6--7--| 
C   ----------------------------4--5-------------|
A   ----------------------4--5-------------------| 
G   ----------------3--4-------------------------|
E   ----------3--4-------------------------------| 
C#  ----3--4-------------------------------------|
                                                      

Here's C dim half whole going to the 4 chord.

           C dim half/whole scale      F9#4
       E|----------------------------|--------------| |  
       C|-12-------------------------|--------------| |
       A|----13-12-------------------|-12-----------| |
       G|----------12-11-------------|-12-----------| |
       E|----------------12-11--9--8-|-11-----------| |
      C#|----------------------------|-10-----------| |  
Dim scale C  Bb A  G  F# E  Eb  Db C
Dim keys  C     A     F#    Eb     C

The above triplet run is over a G7 ending with C, or C6.

[This message was edited by Andy Volk on 10 February 2004 at 04:12 PM.]

To steal a portion of Jesse's scale written above:

C D Eb (F G A B C D Eb F)

ta da....

>>I'm not sure of the theory on this one
-Andy

With respect to the half-step whole-step diminished scale, what you end up with is
a 7b9 chord. They may also contain the #11 tone.

>>You can also repeat it up four frets
- Andy

err, I think you might have meant 3 frets ?

-John

------------------
www.ottawajazz.com

[This message was edited by John Steele on 10 February 2004 at 10:06 AM.]

John, I think it's easier to think minor 3rd intervals for the dim keys that are related to each other. I start on the root and go up in minor thirds for the related roots. Depending on if your including the root note or not that your starting from, it could be 3 or 4 frets. Your saying not to include the root note fret and Andy is including. I use both ways depending on how much Bakelite I've been smoking.

John, I like the #4 when thinking about lydian stuff since getting away from the major 3rd of the chord is the main reason for using lydian. It's a trip that we can call the same things in music by different names. I think Dom7#11 is the correct term for lydian dom, but I like to call it a raised 4th for all lydian applications myself.

[This message was edited by Jesse Pearson on 14 February 2004 at 01:02 PM.]

I used that approach to get to the 4 chord just like the dim half whole scale approach. I'm looking at the 4th measure C7 and doing the triplet at the 12th, 10th, 8th, and 6th frets before hitting the 4 chord F7. The triplet is 1st, 2nd, 1st string in that order. I'm playing over a C7 chord starting on it's 3rd, this is the same approach Andy was using over G7, only he started on the root of G7 instead of the 3rd of the Dom7.

[This message was edited by Jesse Pearson on 13 February 2004 at 02:01 PM.]