🛎All of the PDFs - chord shapes and chart can be downloaded over at my website 💻: www.jazzguitarwithandy.com/blog/after-youve-gone-chord-lesson-resources
Just wanted to mention the beautiful Marion Harris version from 1918...post ww1. Always worth a listen to the version that inspired so many others that followed. Thank you for your time and effort you put into your lesson!
I enjoyed this lesson and I think it has made me more confident with the chords. (One of the problems I have found working with this song is that there are so many different versions in so many different keys!). What I also find interesting is the fact the verse has virtually faded from memory and what we play now is actually the chorus, which goes some way to explain why it starts on the four chord.
I know that feeling Keith. It can be bewildering all of the variations that people do. A lot of these old songs miss out the verse. I agree with you re explaining why it starts onto IV. I'll see you in my dreams does the exact same thing.
@@jazzguitarwithandy In this case the verse doesn't really lend itself to being done as an instrumental, its almost a monologue and that's why it has tended to get lost, but I think knowing it exists gives us a clearer picture of the overall structure of the song.
Good one Andy. We ALMOST had you singing a whole song! Or at least two bars of a song. Sounds good. Unleash your inner Chet Baker. You were right there, and then you stopped! ;)
It's pretty hard to find a guitar lesson for this song that I like because I want to play more of the Django Style and this is probably by far my favorite lesson. It is very easy very well put together and I've been looking for something like this for quite a while again there is other versions that sound real nice but they do not really explain or help out too much this one is my go-to
Hi Andy. Really liked this. Very helpful. But I'm surpised you state that "such & such a song is in the key of whatever"..............Surely ALL songs should be in whichever key best suits the voal range of the singer?
Hi Keith, definitely it will need to be in the key that suits a vocalist, but when I make these videos I always try and do them in the standard key. That way, it prepares learners for playing with others. I remember once jamming with a well known gypsy jazz guitar player and someone suggested doing a song in D, he got very cross and insisted that it had to be in the standard key of Eb!
That's the #IV diminished (C#, E, G, Bb). The way I look at is the shared notes with the target chord G6 (G B D E). Two of the notes are shared - G and E. The other two Bb and C# are a semitone below the B and D in the G6 chord, so there's some nice voice leading there. It works even better if you play G6/D. Does that clarify things?
@@jazzguitarwithandy I think so... So I should see it as a some kind of 'passing chord' leading to the G6 chord. You mention you could also choose a few other chords here, which are those? Thx a lot.
Sorry man, is it my accent or am I speaking too quickly? The red chords are in key - as in the key of G, the blue chords are out of key - e.g not found in the key of G. Does that make sense?
Yes, there are many more possibilities, but these are pretty standard way for a swing guitar player to play these changes. I‘m guessing you don’t like the dominants with the 5th in the bass as it makes the back cycling less obvious? I’ve always called that going round the houses. What changes do you like? I’m guessing you’d play the first 4 bars as CMaj7, Cm7 F7 - backdoor to Gmaj7. I personally don’t like that on an old tune like this, but it is of course a valid way to play it. As you say there are many possibilities and interpretations. I like to start with simple changes. I think over time standards take on different possibilities and the original way gets lost.
Thanks Andy, I like your reply, I would keep the C6 because I've lived in France and Gypsy guitarist prefer the 6th to the major 7th but on the last four bars I'd use Gmaj7 E7b9 Am7 D9, Gmaj Dm7 G7 The four bars before that can be Am, Am/Fsharp, Am/G, F9, Gmaj7 B7, Em7 A7
Thanks for the feedback. Personally, I don't like to just teach chords without going into understanding how they are working. It might make it more complex to begin with, but it makes learning other songs much easier in the long run. Once you can spot a parallel case that is.
🛎All of the PDFs - chord shapes and chart can be downloaded over at my website 💻: www.jazzguitarwithandy.com/blog/after-youve-gone-chord-lesson-resources
Just wanted to mention the beautiful Marion Harris version from 1918...post ww1. Always worth a listen to the version that inspired so many others that followed. Thank you for your time and effort you put into your lesson!
Yes - a great version. It's interesting how nowadays most people play this tune upbeat.
I enjoyed this lesson and I think it has made me more confident with the chords. (One of the problems I have found working with this song is that there are so many different versions in so many different keys!). What I also find interesting is the fact the verse has virtually faded from memory and what we play now is actually the chorus, which goes some way to explain why it starts on the four chord.
I know that feeling Keith. It can be bewildering all of the variations that people do. A lot of these old songs miss out the verse. I agree with you re explaining why it starts onto IV. I'll see you in my dreams does the exact same thing.
@@jazzguitarwithandy In this case the verse doesn't really lend itself to being done as an instrumental, its almost a monologue and that's why it has tended to get lost, but I think knowing it exists gives us a clearer picture of the overall structure of the song.
Wonder lesson, beautiful L5, the ES355 is the background is hypnotic!
Thanks Charles! I’m not the only that finds guitars hypnotising 😂
Great lesson, I like you put out of key chords in blue, makes the composition clearer. Thank you!
Glad it was helpful!
Good one Andy. We ALMOST had you singing a whole song! Or at least two bars of a song. Sounds good. Unleash your inner Chet Baker. You were right there, and then you stopped! ;)
Lol I love Cher Baker! Maybe one day I’ll do it 😂
I'm going to subscribe just because of this video thanks duder I found exactly what I was looking for!
Thanks for the sub!
It's pretty hard to find a guitar lesson for this song that I like because I want to play more of the Django Style and this is probably by far my favorite lesson. It is very easy very well put together and I've been looking for something like this for quite a while again there is other versions that sound real nice but they do not really explain or help out too much this one is my go-to
Thanks Brendan. Glad you found it helpful :)
Great lesson! Thanks.
Glad you liked it!
Great cords! Would be nice if there would be a lead sheet with the notes to accompany the cords so that you could follow the melody.
Great work!
Love these old jazz standards, and your fab teaching method: if you get the chance, can you do a lesson for 'Pennies From Heaven. Cheers
Thanks for the feedback, that would be a good done to look at one day 👍
Thks 👍🏻, 💕Django
Hi Andy. Really liked this. Very helpful. But I'm surpised you state that "such & such a song is in the key of whatever"..............Surely ALL songs should be in whichever key best suits the voal range of the singer?
Hi Keith, definitely it will need to be in the key that suits a vocalist, but when I make these videos I always try and do them in the standard key. That way, it prepares learners for playing with others. I remember once jamming with a well known gypsy jazz guitar player and someone suggested doing a song in D, he got very cross and insisted that it had to be in the standard key of Eb!
Thank you Andy...
Oh, and Anti-Clockwise please dear...
I keep forgetting that when I’m facing the camera I need to do it the other way! One day I will get it l😂
Great lesson! Love your videos. Do you do the melody lines in any of the chord lessons for the standards?
Thanks Shaun. I haven't done so yet.
Love django reinhardt and freddy taylor . They are legends
9:08 can you explain this part a little bit more? I have no clue how the Csharpdim7 gets here :-) Thank you very much for the lessons!
That's the #IV diminished (C#, E, G, Bb). The way I look at is the shared notes with the target chord G6 (G B D E). Two of the notes are shared - G and E. The other two Bb and C# are a semitone below the B and D in the G6 chord, so there's some nice voice leading there. It works even better if you play G6/D. Does that clarify things?
@@jazzguitarwithandy I think so... So I should see it as a some kind of 'passing chord' leading to the G6 chord. You mention you could also choose a few other chords here, which are those? Thx a lot.
@@LarsMoltisanti just see it as another way you can get back to chord 1. It's used a lot in rhythm changes. A7 would be another option
❤️
Sorry, I can not understand you exactly: "....red are key, blue are active key...", what do you mean?
Sorry man, is it my accent or am I speaking too quickly? The red chords are in key - as in the key of G, the blue chords are out of key - e.g not found in the key of G. Does that make sense?
already understood, you distinguish between "in key (red)" and "out of key" (blue), right?
@@jazzguitarwithandy has been overlapped ;-)
@@hycus4292 Yep that's right.
Very strange chords, you obviously don't understand back cycling, there are so many more possibilities
Yes, there are many more possibilities, but these are pretty standard way for a swing guitar player to play these changes. I‘m guessing you don’t like the dominants with the 5th in the bass as it makes the back cycling less obvious? I’ve always called that going round the houses. What changes do you like? I’m guessing you’d play the first 4 bars as CMaj7, Cm7 F7 - backdoor to Gmaj7. I personally don’t like that on an old tune like this, but it is of course a valid way to play it. As you say there are many possibilities and interpretations. I like to start with simple changes. I think over time standards take on different possibilities and the original way gets lost.
Thanks Andy, I like your reply, I would keep the C6 because I've lived in France and Gypsy guitarist prefer the 6th to the major 7th but on the last four bars I'd use Gmaj7 E7b9 Am7 D9, Gmaj Dm7 G7 The four bars before that can be Am, Am/Fsharp, Am/G, F9, Gmaj7 B7, Em7 A7
Too much talking .its better to keep things simple when you're teaching complicated chords.
Thanks for the feedback. Personally, I don't like to just teach chords without going into understanding how they are working. It might make it more complex to begin with, but it makes learning other songs much easier in the long run. Once you can spot a parallel case that is.