Few questions about jazz

first of all:
how can i know which chords i should use to harmonize the melody of a song?
for example: my song goes:
e-3-0-0-1----
b-----------3-3
how do i know which chords to use??
the second question is:
when im using connecting chords are there any rules about their relations with the chords they are connecting between?
for example: my progressions are:
Am7 D7 Gmaj7
or
Bb9 Eb9 Bb13 F9 Eb9
which chords i can use to connect between the chords of those progressions?

[Edited by Zeppelin on 11-26-2001 at 03:10 PM]

Originally posted by Zeppelin
for example: my song goes:
e-3-0-0-1----
b-----------3-3

Zep, is that the melody? And you want to know which chords to play over? Well, I dunno . . . try a C6 going to a Bsus4.

There are supposed to be a bunch of rules when it comes to composing music, but they've never been of any use to me. Just experiment and try to find out which chords sound good. (if you want to go to a modulation, the 2nd and the 7th chords make good pivots, btw)

those things are way complicated
because sometimes the chord that fits with the note wont fit
with the other chords

It's true- your ear is the ultimate tester, especially when dealing with jazz chords. Sometimes I'll substitute a chord that has at least two of the same notes as the previous chord. Usually, in traditional Jazz if you start with a chromatic, thirds, sixth harmony etc., you follow through with the tonality. Of course these aren't rules etched in stone. Remember that Jazz is a great lesson in theory but it's roots are in interpretation and improvisation.

HARMONIZING YOUR MELODY
1st you have to figure out what key your melody is in.(looks like Cmajor to me, could also be F) A good place to start would be to experiment with the chords of that particular key, but do let your ear be the final judge. There are no rules to composing, just guidelines to help us out when we get stuck in a rut.

CONNECTING CHORDS
Diminished 7th chords make for great connecting chords when used between two chords whose roots are a whole step apart.
EX; Amin7 D7 Gmaj7 G#dim7 back to Amin7

also try inserting a minor 7th chord a 4th away before going to the dominant.
EX; Bb9 Eb9 Edim7 Bb13 Cmin7 F9 Eb9

hmmm
a 7th diminshed chord is a Xmin7b5?
the problem with the harmonizing thing is that im not sure
wether the played note should be the tonica of the played chord or it can be another note of the chord?
for example: if im playing the note C do i have to play any C chord or can i play Am or any other chord with c inside?

the late tommy TEDESCO, (most recorded guitarist ever, top session player in hollywood, founder of MIT)used to say that you should connect chords either by the top or the bottom... he meant by bass movement or by the highest note.. In his video "make a living playing the guitar" he shows several chord progression where he plays random voicings, but with the bass playing the changes... So, in harmonizing your melody, try and choose between all the voicings you know that include the note of your melody, making the note the highest one of your voicing... Then, try connecting the chords by bass movement... Might sound confusing, but it works for me.

A diminished 7th chord is not a minor7b5

A-7b5= A C Eb G
Adim7= A C Eb Gb (think of it as taking a dominant 7th chord and raising the root a half step)
ex; Ab7= Ab C Eb Gb

Harmonizing- the melody note does not have to be the root of the chord, nor a chord tone. These are good places to start though, but the melody could be the 9th, 11th, 13th, etc... there are no rules hear, you must try to figure out what you are hearing in your head, and then through trial and error try to affix the appropiate chord that gives the results you are looking for.

hint; try to think colors when assingin chords to melodies. Do you want this particular section to be dark (minor) or bright (major) bluesy (dominant) tense (diminished, augmented) etc...be creative. Look at other peoples charts for inspiration, Pat Metheny does some very interesting compositions. Good luck!