Mel Bay Web “Jazz Session”

by John Zaradin

Tell me Again (jazz samba)

Welcome to "Jazz Session" and a new piece in the jazz samba style, arranged for solo fingerstyle guitar and called Tell Me
Again.
In a "Classic Session", recently, we analysed a piece of music (Coraçâo Quebrado) with the intention of playing and interpreting
the notes that were composed.
In our "Jazz Session" we analyse the composition with a view to making our own interpretation and improvising on it.

Tell Me Again can be played fingerstyle on any kind of nylon or steel strung guitar and is arranged to sound complete as a solo.
A lead sheet version of the song, with chord symbols, which can be used by a rhythm section or other instruments, is provided.
However, our main idea is to prepare the song as a self-contained solo with melody, bass line & chords and to offer some ideas
for improvising on it.

Assumed is a working knowledge of the guitar, the chord symbol system, tablature and familiarity with traditional music
notation.

The piece has a regular A A B A jazz/standards form.

There is
1) a 2 measure introduction before:
2) A - an 8 measure main section that is played twice (with 1st. & 2nd. endings).
The melody itself is a repeated pedal motif and gives rise to the title - Tell Me Again Interest is created by the voice leadings
of the chords changes which "answer" each repeat of the melody pattern. This is followed by:

3) B - an 8 measure middle section which has a much more dynamic melody line to release the tension
created by the repeating pedal in (A).

4) C - a reprise of A, the first (8 measure) section, to close the sequence.

The song then goes round again, and we use the A & B sections for imrovising on the changes At C we close the piece with a
re-statement of the opening melody.
In considering an improvisation, we can see that it is fairly "natural" for a piano player to create a lead line with one hand and
accompany himself with the other; he can physically see the two strata in front of him and keep them separate.
However, to improvise and accompany oneself on the guitar is much more complicated because the music lines weave
backwards and forwards across the strings, even changing tone as they do so, the notes themselves being generated sometimes by
the left hand and other times by the right.
In this Jazz Session a description of the arrangement of Tell Me Again offers some ideas on preparing to improvise over a song
The route is to
1) become familiar with the melodic line,
2)get to know the chord patterns and sequence,
3)add a simple bass line created from the chord changes and then
4) put the whole thing together and, using the written score as a basis, create our own variations on the song.

Let’s look at the song in detail.

CHART 1 LEAD SHEET

First of all the melody is separated and presented as a single line solo.
Play the melody and experiment with different finger positions so that the theme is recognised as a musical line rather than as a
string of guitar patterns.
The melody at section A is designed as a pedal and sounds repetitive without its dependent accompaniment. The trick here is to
play it strongly and vary the phrasing slightly on each successive repeat.

Make sure that you know which notes are represented by the chord symbols.
Lead Sheet
Tell Me Again
INTRODUCTION
q=a.132
G#
ø Gm F#
ø F yb 5 Em9 N.C.
1
# 4 œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ
‰ œJ œ œ œ œ
3 3 3
3
& 4 ‰

A
Bm
y Em6Î/B Bm
y Em6Î/B Am7 D7/A
3
# . ˙ ‰ œœœœœœ ˙ ‰ œœœœœœ ˙ ‰ œœœœœœ ˙ ‰ œœœœœœ ˙ ‰ œœœœœœ
& .

Dm9 C #7 9 # ± F #7
1.
F #m11 F7 5 N.C. b
2.
B7 F yb 5 Em9
aœ œ œ œ œ œ ˙ œœœœœ aœ œ œ œ œ œ
C
8
# ˙ ‰ ‰ œ ˙ ‰ .. œ œ œ œ œ œ Œ
&

B ø
B E7+
œ œ œ œ œ
Dm7
œ
Am7
œ
G13
# œ œ œœ œ œœ œ œ œœ œ nœ œ œ œ œ œ œ
12

& #œ œ œ œ œ œ #œ œ œ # œ œ

± b
F #7 5 ± ø
# œ nœ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ
C F Dm7 B
‰ . # œR
15

& œ œœ œ œ ‰. œ œ œ œ
R

D #m7 D b7 9 # b
# œ #œ #œ œ #œ nœ œ nœ nœ œ nœ
Dm7 C7 9
œ œ œ nœ œ
n œ œ œ b œ œR ≈ œ
18
œ œ.
&

C
y y
# ˙ Bm
œ Em6Î/B
œ Bm
œ œ œ œ œ Em6Î/B
˙ ‰ œœœœœœ
‰ œ œœœœ ˙ ‰ œ œœœœ ˙ œ
20

& ‰
CII

Dm9 C #7b 5 C± F #7 yb
# ˙
Am7 D7/A
œ œ œ œ œ œ B7 F 5 œ Em9
‰ œ œ œ œ œ ˙ ‰ aœ œ œ œ œ ˙ œ
24

& ‰ œ œ œ œœ œ Œ
CHART 2 CHORD CHANGES OF THE SONG
Our next step is to become familiar with the chord sequence so that we know which bass notes and voice leadings will act as
reference for the improvisation.

The melody of Tell Me Again derives from the chord sequence, and in order to play it as a self contained solo, we need to work
out the basic chord shapes of the piece.

At A, the chords are played to respond to the repeating statement made by the melody.
At B there is movement in the melody but it is created out of the chord held chord shapes.
This means that if you play the chords in the relevant positions the melody will pretty much play itself.
Here are the chord changes as they appear through the song.
Play them in time at a comfortable speed so that you become familiar with the rhythm of the changes. Try to sing the rhythm of
the melody while you do this.
 #ø ø F ±b 5
Basic Chord Positions for Song Tell Me Again
q=a.132 G Gm F# Em9
# 4 ˙˙ j j
b ˙˙˙
1
œœœ œœœ œœœ œœ œœ
Guitar & 4 ˙ ‰ œœœ œœœ ‰ Œ
#˙ n˙ œ nœ. œ œ
J J
INTRODUCTION
2 2 0 0 0 0
3 3 1 0 0 0
Tablature 4 3 2 2 2 0
4
2
4 3 2 1 0

Bm
y Em6Î/B Bm
y Am7 D7/A Dm9 C #7# 9 C
± F #7 F #m11F7b 5
1.

3
# . ww w ˙˙ ˙ n˙ n ˙˙ # ˙˙ j
& . #w ww
ww # ww ww
ww ˙ ˙˙˙ n ˙˙˙ ## ˙˙˙ ˙˙ # ˙ ˙˙˙ b œœœ Œ . ..
w w ˙ ˙ ˙ ˙ nœ
A J
2 2 0
3 1 3 1 1 3 5 5 5 5 0 0
3 0 3 0 0 5 5 4 4 3 2 2
2 2 4 3 3 5 2 1
2 2 2 2 5 4 3 4
5 5 2 2 1

2.
B7 y
F b5 Em9 B
ø E7+ Am7 Dm7 G13
11
# œœ œœ ˙ ˙˙ n ˙˙˙ ˙
& œœ œœ œ œœ œœ Œ n ˙˙ # ˙˙˙ n ˙˙˙ ˙˙ ˙ n ˙˙
œ nœ œœ œœ ˙ ˙ ˙ ˙
.
B
0 2 5
0 0 0 0 3 1 1 1 6 5
2 2 0 2 1 0 5 4
4 3 0 2 2 3
2 2 2 0 0 5
1 0 0 3

C ± F #7 b 5 F
± Dm7 Dm7 B
ø D #m7 Dm7 D b7# 9 C7b 9
# ˙ ˙˙ n ˙˙ ˙˙ ˙ n n n ˙˙˙
15

& ˙˙ # ˙˙˙ n ˙˙˙ ˙

n˙ ˙˙ ˙ # ## ˙˙˙ n˙
n ˙˙
## ˙˙ b bn œœœ Œ
˙ ˙ n˙ ˙ nœ

0 0 5
0 1 1 3 6 6 7 6 5 2
0 3 2 5 5 7 6 5 4 3
2 3 7 7 8 7 3 2
3 5 6 5 4 3
2 1 7

Bm
y Em6Î/B Bm
y Am7 D7/A Dm9 C #7# 9 C
± F #7 B7 y
F b 5 Em9
20
# ww w ˙˙ ˙ n˙ n ˙˙ # ˙˙ œœ œœ Œ
& #w ww
ww # ww ww
ww ˙ ˙˙˙ n ˙˙˙ ## ˙˙˙ ˙˙ # ˙ œœ œœ œ œœœ œœœ
w w ˙ ˙ ˙ œ nœ œ œ
.
C
2 2 0 0
3 1 3 1 1 3 5 5 5 5 0 0 0 0
3 0 3 0 0 5 5 4 4 3 2 2 0
2 2 4 3 3 5 4
2 2 2 2 5 4 3 4 2 2
5 5 2 1 0
CHART 3 CHORDS AND BASS LINE FOR SOLOS

Now that we know what the chord changes are we can create a bass line from them.

One of the challenges of playing a self-accompanying solo and improvising is to be able to maintain the
momentum of the song.

More often than not we feel the improvisation as a series of related ideas of different lengths rather than as
a running continuity, and it requires some practice to be able to sustain a sense of tempo with the
accompaniment and still allow the solo to freely evolve and breathe.

A good way of preparing yourself to doing this is to memorise the bass line of the song and use it as your
main reference.
A bass line serves 2 functions at the same time: it generates the beat & tempo and also plays the chord
changes.

In Chart #3 shows the chords as they appear in the sequence, but with a simple bass line consisting of
roots or 5ths of the chords underneath them. This bass line is used in the solos sections of the piece.
Play the sequence in time and generate the tempo from the bass line.

Experiment with the sequence by improvising a rhythm with the chords but continue to play the 4 in a bar
bass line as written.
chord sequences with
bass line for solos Tell Me Again
A
Bm
y Em9 Bm
y Em6Î
# 4 ww
28
w ww
& 4 #w w # ww w
œ œ œ œ ww œ œ œ œ
œ œ œ œ œ œ œ œ
G7b 9 F #7 F #m11 F7b 5
±
Am7 D7 Dm7 C
32
# ˙˙ ˙˙ n ˙˙ ˙˙
& ˙ ˙
œ œ
˙
œ œ n b ˙˙œ
˙ ˙œ # ˙˙˙ ˙˙˙ ˙
# œ˙˙ œ
œ œ œ œ œ œ œ œ

Bm
y Em6Î Bm
y Em6Î
36
# ww ww w ww
& #w w # ww w
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
Am7 D7 Dm7 G7 C
±
F #7 Am/B F b 5Em7 y
˙˙ ˙˙ # ˙˙ j
# ˙˙
40
˙˙˙ n ˙˙˙ ˙œ ˙œ œ ˙ œœœ œœœ œœ Œ .
& ˙ œ œ œ œ œ œ œ œ
œ œ œ nœ œ
J
B
B
ø E7+ Am7 Am6 Dm7 G11 C ± F #7b 5
# ˙
44
n ˙˙ n ˙˙ ˙˙
& n ˙˙ # ˙˙˙ n ˙˙˙ ˙˙˙ ˙œ ˙ ˙œ #˙
œ œ œ œ œ œ œ
œ œ œ # ˙˙œ œ
œ œ
F ± Dm7 B
ø D #m7 Dm7 C #7 # 9 b 5 C7b 9 b 5
# ˙˙ ˙˙ n ˙˙ ˙˙ ˙ n n n ˙˙˙
48
n ˙˙ b bn œœœ
& ˙ n ˙œ œ ˙
œ œ
˙
œ œ
# # ˙˙
#œ œ œ œ ## ˙œ œ nœ
Œ
nœ œ
C
Go to “C” at measure 52 in CHART 4
52
#
&
CHART 4 FULL SONG AS A SOLO

Finally, we have the song as a guitar solo with all the score indications, tablature and chord symbols.
The tablature throughout can be cross-referencedwith the notation.

NB Left hand fingerings, when applied to chords, refer to either the top and/or bottom notes.
In the solos sections, the Tablature shows fingering for the chords that, in the notation part, are indicated
as rhythm stems.

In learning the piece, play at a tempo where you can hear & feel the changes so that you build in freedom
to imagine new ideas and variations.

Hold the chord shapes and examine the different ways that you can play those shapes - making arpeggios,
using rasgueados, harmonics, tremolo, changing inversions and string positions etc.

At A & B the solo is constructed :

1. With the chord shapes, but employing some passing notes.
2. By creating rhythm patterns with held chords.
3. By playing inversions of chords, rhythm ad lib.
4. By creating a crescendo in B to end the section.

At C the initial melody is re-stated to close the song.

Bear in mind that the solo is a reference part and serves only as jumping off ground for your own
improvising.
Once you have developed some of your own patterns, you could write them down and build a personal
lexicon of phrases; play them in all keys.

If you enjoy playing the song, feel free to take many full choruses ad lib. before the final reprise.

I wish you many inventive choruses on Tell Me Again and hope that you can add it to your repertoire.

John Zaradin
Solo Guitar
Tell me Again Jazz Samba

G#
ø Fy b5 Gm 3 F#
ø : Em 9 1 2 1 0 2
1 q=a.132
3 3
j 3
# 4 œœ œ œ œ œ b œœ œ œ œ œ ‰ œœœ œœœ œœœ œœ œœ œ œ œ œ œ œ
Guitar & 4 œœœ œœœ
3 # ˙œ 2
n ˙œ
2
œ nœ
1 .
œ œ ‰ Œ
INTRODUCTION
J II CII
0 2 0 0 2 0 0 0 0 0 2 3 2 0 2
3 3 3 3 1 0 0 0 3
Tablature 4 3 2 2 2 0
4
2
4 3 2 1 0

Bm
y Em 6 Î/B Bm
y
0
3
# . ˙ œ3 œ . # œ ‰œ œ œ œ œ œ œ ˙ œ œ . œ ‰œ œ œ œ œ œ œ ˙ œ œ . # œ ‰œ œ œ œ œ œ œ
1
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A
J II
J CII
2 3 2 0 0 2 3 2 0 2 2 3 2 0 0
3 2 3 1 0 3 3 2 3
3 3 0 0 3 3
2 2
2 2 2 2 2 2

Em 6 Î/B 4 Am 7 D7/A Dm 9 C #7 # 9 4
4
‰ œ œ œ œ œ ˙ ➂3 ‰ ‰ aœ œ œ œ œ
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0 5 5 5 4
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2.
B7 F y b5 Em 9
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ø E7 + Am 7 Am 6 4 Dm 74 G1 3
3 4 4 4 ➂
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2 2 0 0 0 0 5 5
0 0 3 3

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ø 2
4
F
4 2 4 4
4 2
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15
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0 3 1 1 3 3 5 6 5 6 8 6 7
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5 5 2 2 3 3 7 7 7 7
3 3 5 5
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4 4 2 ➁4 1
3
18
# œ # # œœ # œœœ œœœ # œ n œ œ n n n œœœ n œœ œœ œ œ œ n œ œ œœ b b œœœ œœ ≈ œ œ œ œ n œ œ
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y Em 6 Î/B
20
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3 2 3 1 0 3
3 3 0 0
2 2
2 2 2 2
 Bm
y Em 6 Î/B Am 7 D7
22
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3 2 3 1 3 5 3 5
3 3 0 5 5
2 5 4
2 2 2
5 5

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25
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Bm2
y Guide Solos ad lib. Em 9
3 2 3 0
ad lib. rhythm
28
# œ #œ œ œ œ œ œ œ œ #œ œ
& #œ œ œ œ Û Û Û
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A CII I

3 2 2 3 2 2 3 2
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y Em 6 Î
ad lib. rhythm
0
30
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& œ œ œ œ œ œ œ #œ œ #œ œ œ Û Û Û Û Û Û Û Û Û Û
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œ œ œ œ
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2 2 2 2
0 0 0 0

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2
œ œ œ œ 0 3
# œ œ œ nœ.
32

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1 1 3 1 1 0
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34
#
& œ œ œ œ œ œ Û Û Û Û.
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y Em 6 Î
3 0 2 0 1 2
36
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& #œ œ œ œ #œ œ œ œ œ
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II
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0 0 0 0

Bm
y Em 6 Î
3 0 2 ad lib. rhythm
38
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3 3 3 3 0 0 0 0 0 0
2 2 2 2
0 0 0 0

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1 4œ 4œ
2
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40
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II ½CI VIII
½CV
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1 1 1 3 3 3 3 1 1 6 6 6 6 9 9 12
0 0 0 5 5 5 5 2 2 5 5 7 7 10 10 12
0 0 0 0 5 9
0 0
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± F #7 b 5 Am/B F y b5 Em 7
4
œ œ œ j
42
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& J œ œ
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12 12 12 12 12 12 12 0 0 0 0
12 12 12 11 11 11 11 1 0 0 0
12 12 12 2 2 2 0
10 10
9 9 2
1 0

B
ø 4 3 4
1E7 + 0 0 Am 7 2 4
Am 6
# œ œ œ nœ
44
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& œ œ œ. œ œ. œ œ œ œ œ œ œ
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5 3 1 0 0 0 1 1
2 1 1 2 2 2
3 0 3
2 2 0 0 0 0
0 0

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C0 F #7 b 5
2
46
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≈ œ œ œ œ ≈
J œ œ.
½CI J
1 3 1 0
1 1 3 0 0
2 2 0 0 0 0 3 2
0 0 2 2
2 3 3
3 2 2

F ± Dm 7 4 4 4 1 B ø
# œ nœ œ œ œ nœ œ œ œ œ œ
48
œ œ œ œ. œ
& nœ œ œ œ.
nœ œ J ≈ œ œ
½CIII
VI
3 0
3 5 6 5 6 8 6 6
2 5 5 5 7 7
3 3 0 0 7 7
1 1 7 7
 D #m 7 Dm 7 C #7 # 9 b45 C7 b 9 b 5 (reprise)
50
# œ #œ œ nœ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ
& #œ œ. ≈ nœ œ . #œ. œ œ. ≈ n œJ ‰ Œ
J J
CVI CV ½CII
½CIII
6 6 5 5 3 3 2 2 3 2 0 2
7 7 7 6 6 6 6 5 5 5 4 3
6 6 6 5 5 5 5 4 4 4 3
8 7 7 3 3 3 2
6 6 5 5 4 4 3

Bm
y Em 6 Î/B Bm
y
52
# ˙ œ œ . # œ ‰œ œ œ œ œ œ œ ˙ œ œ . ‰ œœœœœœ ˙ œ œ ‰ œœœœ œ
œ
& #œ œ. œ œ œ œ
œœ œœ .. œœ œœ # œ œ . œ œœ
. # œ
‰ . œR œ . œ œJ ‰ Œ ‰ . œR œ . œ œJ ‰ Œ ‰ . œR œ . œ œJ ‰ Œ
C CII
2 3 2 0 0 2 3 2 0 2 2 3 2 0 0
3 2 3 1 0 3 3 2 3
3 3 0 0 3 3
2 2
2 2 2 2 2 2

Em 6 Î/B Am 7 D7 Dm 7 C #7 b 5
# ˙ ‰ œ ‰ œ ‰ œ
œœ œ œ œ œ œ ˙ œœ œœ . œœ œœ œ œ œ œ œ ˙ œœ . œ œ a œ œ œ œ œ
55

& œœ n œœœ
œ œœ . œ .. # # œœ œœ
Œ ‰ . œR J ‰ Œ ‰ . œ œ . œ œJ ‰ Œ ‰. R J ‰ Œ
R
2 3 2 0 2 3 2 0 2 3 2 0
1 3 5 3 5 3 5
0 5 5 5 4
2 5 4 3 3
2 5 4
5 5

C ± F #7 B7 F y b5 Em 9
58
# ˙ ‰ œ œ œ œ œ œœ œœ
œ œ. #œ œ œ œ œœ œœ œ Œ
&
‰. N œœ œœ .. # œœ œœ ‰ Œ œ nœ.
œœœ œœœ
R œ œ
J
2 3 2 0 0
3 0 0 0 0 0
4 3 2 2 0
4
3 4 2 2
2 1 0