Small Fry - Frank Loesser-Hoagy Carmichael

[grglaser]

Thanks for the charts and the tips
GG

[Keith88]

Hi GG,

You're welcome. I'm always happy to satisfy a request when I can. Because you mentioned the tips, I'll submit another.

What is a pianist (or guitarist) to do when he sees an A9#11 chord in a chord chart. An average Joe or Jane might simplify it because he hasn't the experience to correctly handle it and instead just play an A7 chord. I would suggest voicing it, from the bottom up, with the 3rd, 7th, 9th, and #11 on top. For a pianist, the right thumb on a C#, 2nd finger on a G, the 3rd finger on a B, and the 5th finger on a D# (=Eb, the melody note). This is an open voicing with an attractive sound, containing the necessary 3rd and 7th inside and the #11 sticking out on top. The next chord, an Ab9#11, can be easily played by moving down by a half-step. By putting the 3rd finger on the Bb, the 4th and 5th fingers are free to play the melody.

Jerry's post brings up an important issue: what belongs in a chord chart submitted to the forums? Should the chart be written for maximum legibility, especially if the chart is to be read on a small screen, like my iPhone 7? Should it be bare-bones, so that a beginner can play the chords without a struggle or improvise over the changes without getting hung up in chord extensions? Should it be more sophisticated, so that a melody player or singer can use it as an effective backing track? Should it reflect the way a real jazz musician conceives of the song? As someone whose charts are among the best and most elegant posted to the forums, I'm sure he has considered these issues.

When I wrote the chord chart for "Small Fry," I had several aims in mind. I wanted to quickly respond to GG's request, in case he (or are you a she?) needed it right away. I wanted a chart that was readable and easy on the eyes. I didn't know how he wanted to use it or his level of musical experience or knowledge. However, it had to be accurate and reflect the harmonic structure of the tune. Let's face it, we're dealing with a composition by Carmichael and Loesser, two of the twentieth century's great song composers, and the chart should have the sophistication that the song deserves. Thus, I tempered justice with mercy and submitted the chart found above.

A more sophisticated and I think more accurate version of "Small Fry" follows this paragraph. It contains additional chords with extensions. Note the ii-V-i in the second measure, fourth line (and similar instances) which is the way that many would automatically play, even if it weren't written in the chord chart. Note the tritone sub at the end of the first ending; the melody note is the root of the V7, which means that it is the #11 of the tritone sub, just as it was in the fifth measure of the A section. While the chart is more accurate and the backing track sounds better, it sacrifices easy readability and might confuse someone with less knowledge. Is this chart better? For whom? When is "better the enemy of good?"

Small Fry (v2) - Hoagy Carmichael, Frank Loesser

Finally, here is a third version that might reflect the way I'd actually play it. Note the additional color tones in some chords. In addition, there is yet another tritone sub, this one in the second measure, fourth line. It fills in a four-note descending bassline and sounds good, at least to me. I is also no more difficult to play than the second chart: the Db9#11 contains the same notes in the right hand (F, Cb, Eb, and G) as the G7#5 (F, B, D#, and G) and is voiced exactly the same. The chart creates a nice backing track. However, it sacrifices even more readability. One might argue it creates a straight jacket for an improviser over the changes because of all of the extensions. Is it a better chord chart than either of the other two? For whom might it be better?

Small Fry (v3) - Hoagy Carmichael, Frank Loesser

So GG, which do you like best? Which is more useful to you and how will you use it? Please let us know.

Regards,
Keith

[pdxdjazz]

THAT is why these are song discussion threads!
It's all about helping each other along our various musical paths.
We're all in this together

Keith, thanks for a great post
)BOB

[engelbach]

Nice work, Keith.

Like your last version, I also add a lot of passing chords when playing. I generally don't need to see altered chords in a chart, as I alter them as I go along. But for comping, if I'm not familiar with a melody and have only the changes, the alterations and subs keep me from conflicting with the head, as I don't like to have to comp just vanilla chords.

Cheers,
Jer