From Emil's Tablature
from Chuck Newsome <chaz429@idt.net>
from Brian Healey <bhealey@zoo.uvm.edu>
Magilla is a "rhythm changes" tune. Stay tuned for details on this
specific jazz form.
The form is: A A B A, and there are 32 bars.
The A sections are eight bars each, and contain four 2-bar phrases, each
bar containing two chords. In the first A section, the first two
2-bar-phrases are I-vi-ii-V, the third is a walking bluesy idea
(I-iii-IV-#iv«), and the fourth is another I-vi-ii-V. The second A
section has a slightly different final 2-bar phrase, as it ends with
just ii-V-I, resolving, and setting up the bridge.
The B section (or bridge) is eight bars in length, and begins on the
dominant seventh chord formed over the major third of the key of the
song. This section, like the A section, is broken into four
2-bar-phrases, although, UNlike the A section, during the 2-bar
duration, the same chord is played twice. The pattern follows the
circle of fifths using dominant seventh chords until the tonic is
reached again, bringing you to the final A section (III7-VI7-II7-V7).
Magilla is in Bb, much like most other rhythm changes standards. Thus,
the chords are:
Main Theme:
The Easy way:
{BbMaj.7 Gm7} {Cm7 F7} {BbMaj.7 Gm7} {Cm7 F7}
{BbMaj.7 Gm7} {Cm7 F7} {BbMaj.7 Gm7} {Cm7 F7} then repeat
Bridge:
{ D7 } { D7 } { G7 } { G7 } { C7 } { C7} { F7 } { F7 }
The Hard "Jeffery Goldberg" way (advanced users only, please):
||: Bb6 Gm7 | Cm7 F7 | Bb Gm7 | Cm7 F7 |
| Bb Dm | E F« | 1: Bb Gm7 | Cm7 F :||
| 2: Cm7 F7 | Bb |
| D7 | % | G7 | % | C7 | % | F7 | % |
| Bb6 Gm7 | Cm7 F7 | Bb Gm7 | Cm7 F7 |
| Bb Dm | E F« | 1: Bb Gm7 | Cm7 F |
| 2: Cm7 F7 | Bb ||
Bb7
E:----6--5/6--------------------------------------------------
B:------------6---9/8/9-----7--6h7p6------6-------------------
G:-----------------------8------------9------7------------6---
D:-8---------------------------------------------8p5----------
A:-----------------------------------------------------8------
E:------------------------------------------------------------
E-----------------------------------------------------------
B-----------------------------------------------------------
G----6/5----------------------------------------------------
D------------7--8-------------------------------------------
A-8-------8-------------------------------------------------
E-----------------------------------------------------------
I'll try and figure out some of the chords for the rest of the song,
but I think it's pretty much improv. They usually do some ii-V7-I
stuff through some key changes.
Listen to the Alpine show from '98 for an amazing Trey chord solo.
Jazz Transcription
trascribed by mario ferro <Piper59702@aol.com>
(with much much much much help from his music teacher, the great Bob Grebb)
this is just a skeleton of the song, but i wanted to get what i had
posted rather than putting it off until i had more done, because it might
never get done, and then i might never post it. so heres what i got and i hope
you can make something of it.
good luck.
here's the main chord progression for magilla.
we're of the key of Bb
(iii)
I vi ii V I vi ii V
/ / / / / / / / / / / / / / / /
I I7 IV iv iii vi ii V I
/ / / / / / / / / / / / / / / /
III7 VI7 II7 V7
/ / / / / / / / / / / / / / / /
(iii)
I vi ii V I vi ii V
/ / / / / / / / / / / / / / / /
I I7 IV iv iii vi ii V I
/ / / / / / / / / / / / / / / /
I:repeat as needed:I
the above shows the roman numerals of the chords being used in
the key of Bb, and how many beats each chord gets. This is
repeated a few times, with thier solos in between.
now as i said were in the key of Bb, so heres what each roman numeral
stands for:
I Bbmaj7
vi Gmin7
ii Cmin7
V F7
I Bbmaj7
I7 Bb7
IV Eb
iv Ebm
iii Dm7
III7 D7
VI7 G7
II7 C7
V7 F7
above two if the I's the are iii's, which means that they could be
substituting this chord in its place.
from what i can tell, trey is just soloing in the key of Bb major. (i
will try to later tab this out, later).
for the most part this is all very basic jazz stuff, so if your able it
learn this song, you'll be on your way to the world of jazz:
-the I-vi-ii-V7 progression has been around since Bach, as is still used
to death today. phish uses it all the time, so once you get it down in
one key, it'll be pretty easy to transpose it to others. the whole idea
if this progression is based around the V to I chord progression(which
is the corner stone of all music): the vi chord is the V of the ii
chord, the ii chord is the V of the V chord; and well, the V chord is
the V of the I chord. (and the I chord goes very nicely to the vi
because they share two out of the three notes that make each
up....(which is also why we can substitute the iii chord for the I,
becasue these chords also share two out of the three notes that make
them up....on the guitar play an open am and then play a C, see how
closly related they are, thats going from vi to I))
-the I-I7-IV-iv progression is used a lot also. one song that comes to
mind right away is pink floyds 'nobodys home'. IV-iv-I is a basic
cadence used a lot. (its also used in radiohead's creep, the chords to
the song are G-B-C-Cm. going from C-Cm-G is IV-iv-I.)
-the III7 IV7 II7 V7, is the same as the i vi ii V7 except that all the
chords are made dominant, so each chord constantly pulls to the next,
also very common, and very usefull, the beatles did it all the time.
(the iii chord is the V of the vi chord, so it naturally comes before
the vi)
well thats all i have right now, again i'm hoping to do more and get
that up as soon as possible. thanks a lot for listening, hope this helps.
