The GuitarBaba

"Just Friends," composed by John Klenner with lyrics by Sam M. Lewis, was released in 1931. While initially a popular song, it quickly became a cornerstone of the jazz repertoire. Many notable artists have recorded this tune, including Charlie Parker, Chet Baker, Bill Evans, John Coltrane, and Stan Getz, each bringing their unique voice to its intricate harmony. Let's analyze the song. Chord Chart: A - |CMaj7|%| Cm7| F7| GMaj7|%| Bbm7| Eb7|   B - |Am7| D7| GMaj7| Em7| A7|%| Am7 D7| Dm7 G7|   A - |CMaj7|%| Cm7| F7| GMaj7|%| Bbm7| Eb7|   C - |Am7| D7| F#m7b5 B7b9| Em7| A7| Am7 D7| GMaj7|%| A Section - Bars 1-8: | CMaj7 | % | Cm7 | F7 | GMaj7 | % | Bbm7 | Eb7 | Bars 1-2: CMaj7 (IV Chord) The section opens with CMaj7 , which functions as the IV Major 7 chord in G major. Bars 3-4: Cm7 - F7 (Backdoor Progression) Following the CMaj7, we encounter Cm7 and F7 . This is a ivm7 - bVII7 progression in G major, commonly known as a backdoor dominant approach. Bars 5-...

 "On Green Dolphin Street," composed by Bronisław Kaper with lyrics by Ned Washington, was released in 1947 as part of the film's soundtrack. While it didn't become a hit immediately, it quickly found its place as a jazz standard. Many notable artists have recorded this tune, including Miles Davis, John Coltrane, Bill Evans, and Grant Green, each bringing their unique voice to its rich harmonies. Let's analyze the song. Chord Chart (Key of C) | CMaj7 | % | Cm7 | % |  | D9 | Db9 | CMaj7 | A7 |  | Dm7 | G7 | CMaj7 | % |  | Fm7 | Bb7 | EbMaj7 | G7 |  | CMaj7 | % | Cm7 | % |  | D9 | Db9 | CMaj7 | % |  | Dm7 | Bm7b5 - E7b9 | Am7 | F#m7b5 - B7 |  | Em7-A7 | Dm7-G7 | CMaj7 | % | Song Analysis Bars 1-4: The Major to Minor Shift. The tune begins with CMaj7 . This establishes C major as the I chord. Here, Cm7 appears. This is parallel modulation, where we use chords from the parallel minor key, C minor. Bars 5-8: Tritone Substitution and Secondary Do...

The Aftermath of a Bum Note Learning the guitar as an adult is not just about the fingers. Most guitar learners pick up the instrument after a day of constant decision-making, carrying the momentum of professional authority and a high-functioning life. We sit down to practice, but the mind is still untangling the day. We think of guitar practice as a physical workout, but it is primarily an exercise in presence. Our fingers do not move on their own. They follow instructions given by the brain, which requires steady attention. When the mind drifts toward other tasks, the connection between the brain and the hand thins. The focus wavers, the map disappears, and a bum note follows. For a high achiever, the reaction to that incorrect note is immediate. Staring blankly at the fingers or sliding a hand across the fretboard in an attempt to erase the mistake are common reflex responses. In that moment, a simple mistake can feel like a loss of identity. One is no longer in control. It is a str...