Samys daphne chords

ivyguitar

Check out Samy playing daphne toward the end if this video.
Can anyone transcribe and name these chords? Thanks

Russell Letson

I'm not up to transcribing the changes (which, BTW, start at 5:14) in detail right now, but they are the familiar "Freddie Green" or shell-chord three-note shapes and follow the I-vi-ii-V pattern of the rhythm changes.

What I find interesting is the advocacy of shell chords rather than the fuller voicings that I've seen suggested at any number of GJ-rhythm workshops. The "stay out of the soloist's way" advice is exactly what I was taught when learning standard swing-rhythm protocols--and why I default to shell chords when backing anyone.

Jim Kaznosky

The magic chord

ivyguitar

Regretfully can't fly to Paris and attend the class. He plays every chord except one on the 5th fret. Wish I knew these subs

Bones

Yeah I've always defaulted to the 'Freddie Green' style of chords firstly because I've always had damage in my left wrist that prevented me from doing full barre chords all night long so it was kind of a survival tactic but also has the side benefit of 'staying out of the soloists way' by staying off the top 2 strings (pretty much) and also I've found that I like the voice leading in a subtle kind of way and how the inversions sound under the melody. Understated, less-is-more kind of thing.

Not to take anything away from being able to play the big full chords. It would be nice tool to have in the box. Wish I could but I can't...

Also they are a nice way to get 'newbies' started since they are 'easy' and you can get going with just a few different shapes.

Buco

ivyguitar wrote: »

Regretfully can't fly to Paris and attend the class. He plays every chord except one on the 5th fret. Wish I knew these subs

When I saw him do that at Django in June I thought it was the coolest thing. He showed me the chords. I'm vacationing without the guitar (the worse part of taking vacations) but when I get home next week I'll try to refresh my memory.
Somebody will probably chime in before though.

Bones

I think he's just playing D6-9/A x, Em7/D A7, D6/A x, Em7/D A7, D6-9/A D7/A, G6-9/D G#dim, etc. Comma is put in to show each measure, x is 2 more beats of the previous chord

D6-9/A
5x445x

Em7/D
x5x45x or x5545x???

A7
5456xx

I'll go back and check when I have time but that is what I think it was for the first 2 measures. He just skips the Bm7 but that is basically the same as D6

dennis

Russell Letson wrote: »

I'm not up to transcribing the changes (which, BTW, start at 5:14) in detail right now, but they are the familiar "Freddie Green" or shell-chord three-note shapes and follow the I-vi-ii-V pattern of the rhythm changes.

What I find interesting is the advocacy of shell chords rather than the fuller voicings that I've seen suggested at any number of GJ-rhythm workshops. The "stay out of the soloist's way" advice is exactly what I was taught when learning standard swing-rhythm protocols--and why I default to shell chords when backing anyone.

Actually, those are pretty full chords:

D6/9
G6/9
C#m7b5
x2
D6/9
D7/A
G6/9
G#dim7
D6/9
C#m7b5
D6/9

That's one of the ways Django accompanies rhythm changes. You can hear it in the rome version of swing 42 when Django accompanies stephane: he plays C (triad) then F6/9 then G6/9 all between first and 5th frets

adrian

I made a quick Soundslice version (chord diagrams synced with the video): https://www.soundslice.com/scores/109020/

Adrian

NylonDave

Just thought I'd like to point a couple of homonyms. The C sharp m7b5 is functioning as a rootless A9. Sometimes the G6/9 over d is a G chord and sometimes it is an Em. It takes part in two cliches.

1, 6, 2, 5, where it is the two (and A9 is the five).

and

1, 17, 4, sharp 4 dim, where it is the the four.

Thanks for the historical detail Dennis.

D.

ivyguitar

Ok thank you all!! I had gotten it close but was a long way from understanding the homonyms/subs. I'm slowly realizing how keeping the groove informs the harmony- not vice-versa.