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--- dangelico603 <jpcombs@...> wrote:

Where is it? I can't find it.
Jason

Jason,

This is Johnny Smith's "Moonlight in Vermount"
voicings -- I didn't have the time to notate or tab it
... if you follow the melody and the sub. changes
below you should arrive at Johnny's sound...
...it is one of my favorite ballads --

A Section
Bar 1
Standard: EbMaj7 --- Cm7
Alt. Subs: Eb6/9 (first note is C: play Eb6/9 add13,
6th fret)
Standard: Cm7
Alt. Subs: EbMaj7 -- Cm7add4

Bar 2
Standard: Fm7 --- Bb7b9
Alt. Subs: Fm9 -- E7#9 (6th fret)

Bar 3:
Standard: EbMaj7 --- Cm7
Alt. Subs: Eb6/9 (same as bar 1) -- Cm7 -- Db9 for (Eb
note)

Bar 4:
Standard: Db7#11
Alt. Subs: Db7 - Db9#11 - Db7 (4th fret)

Bar 5:
Standard: Fm7 -- Bb7b9
Alt. Subs: Dm7b5 (add4, 5th fret) -- Ab/Bb (6th fret)

Bar 6 (1st ending):
Standard: Eb
Alt. Subs: Eb

Bar 6 (2nd ending):
Standard: Eb
Alt. Subs: Eb -- D7b9 (I add a D7#9 with added F
melody note right before the D7b9, 5th fret)

B Section
Bar 7
Standard: Am7 -- D7
Alt. Subs: Am11 - D7b5/Ab (or Abdim), 5th fret

Bar 8
Standard: GMaj7
Alt. Subs: G69 -- D7b5/Ab (or Abdim), 3rd fret

Bar 9
Standard: Am7 -- D7, 5th fret
Alt. Subs: Am11 - D7b5/Ab (or Abdim) -- B7#9 - B7b9
- B7#9

Bar 10
Standard: GMaj7
Alt. Sub: GMaj7 on 7th fret

Bar 11-13 Same as Bar 7 - 9 (transpose up a fret)

Bar 14
Standard: AbMaj7 -- Bb7b9
Alt. Subs: AbMaj7 (8th fret) -- E9 (9th fret)...

C Section -- follow A Section

Tag Ending: John Smith adds the double stops to the
single line ending: g/b - ab/c - c/eb - eb/g

Last 3 chords in TAG:
1) F9 (play the 13th note after the 9th, 8th fret)
2) E9 (play the 13th note after the 9th, 7th fret)
3) Emaj9, 6th fret: Eb-G-D-F-Bb (Finale),

Let me know if you need more help -- Enjoy

John Amato
Music blows the dust off your soul...
Isa.55:11




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Smith does it in C

Yeah that's what I thought. This is what I have for the first six
chords.


x-----x-----x-----x-----x-----x
10----8-----5-----3-----5-----5
12----9-----5-----4-----5-----4
14----10----7-----5-----7-----6
15----12----10----7-----8-----8
x-----x-----x-----x-----x-----x

I just wanted to see that version so I could check my work ;)
Jason

You can play that first chord using an open E string.
It won't sound exactly right, but it saves me the stretch, which
slightly annoying






In jazz_guitar@..., "dangelico603" <jpcombs@h...> wrote:

--- In jazz_guitar@..., "odomben" <ben_odom@h...> wrote:

You can play that first chord using an open E string.
It won't sound exactly right, but it saves me the stretch, which
slightly annoying






In jazz_guitar@..., "dangelico603" <jpcombs@h...> wrote:

Yeah that's what I thought. This is what I have for the first

six

chords.


x-----x-----x-----x-----x-----x
10----8-----5-----3-----5-----5
12----9-----5-----4-----5-----4
14----10----7-----5-----7-----6
15----12----10----7-----8-----8
x-----x-----x-----x-----x-----x

I just wanted to see that version so I could check my work ;)
Jason

Here are my voicings in Eb:

8-----6-----3-----x-----x-----x
8 6 3 6 8 8
8 5 3 7 8 7
8 5 1 5 6 6
x x x 6 x x
x x x x 8 7

I personally think it's just as pretty as long as you aren't
concerned with having the whole melody line on one string. Also, it
seems a whole lot less of a stretch. Note that the chord voicings
spell: Eb6, Eb6/9, EbM7, EbM9, Fm9, and Bb13b9.

Maintain

Marshall




--- In jazz_guitar@..., "dangelico603" <jpcombs@h...>
wrote:

Yeah that's what I thought. This is what I have for the first six
chords.


x-----x-----x-----x-----x-----x
10----8-----5-----3-----5-----5
12----9-----5-----4-----5-----4
14----10----7-----5-----7-----6
15----12----10----7-----8-----8
x-----x-----x-----x-----x-----x

I just wanted to see that version so I could check my work ;)
Jason





--- In jazz_guitar@..., Ron Murray <rmurray@s...> wrote:

Smith does it in C

on 10/4/05 10:53 PM, Wm. Marshall Faircloth at mfcpa1@... wrote:

Here are my voicings in Eb:

8-----6-----3-----x-----x-----x
8 6 3 6 8 8
8 5 3 7 8 7
8 5 1 5 6 6
x x x 6 x x
x x x x 8 7

I personally think it's just as pretty as long as you aren't
concerned with having the whole melody line on one string. Also, it
seems a whole lot less of a stretch. Note that the chord voicings
spell: Eb6, Eb6/9, EbM7, EbM9, Fm9, and Bb13b9.

Maintain

Marshall


Of course that's perfectly acceptable, but by no means as "pretty" as the
close voicings Smith used, which are more pianistic and create a "shimmer"
that drop2 and drop 3 voicings don't possess.

Ron

Yeah man, it's hard to beat Johnny!

This is what I used back in the 60's. We always played it in Eb.
It was probably the closest to chord/melody that I ever came as a
jack-of-all-trades type player back then.

Also, now I see why the dashes are needed on all the strings, lol.
The system just compressed the spaces between the numbers!

Marshall

--- In jazz_guitar@..., Ron Murray <rmurray@s...> wrote:

on 10/4/05 10:53 PM, Wm. Marshall Faircloth at mfcpa1@a... wrote:

Here are my voicings in Eb:

8-----6-----3-----x-----x-----x
8 6 3 6 8 8
8 5 3 7 8 7
8 5 1 5 6 6
x x x 6 x x
x x x x 8 7

I personally think it's just as pretty as long as you aren't
concerned with having the whole melody line on one string. Also,

it

seems a whole lot less of a stretch. Note that the chord voicings
spell: Eb6, Eb6/9, EbM7, EbM9, Fm9, and Bb13b9.

Maintain

Marshall


Of course that's perfectly acceptable, but by no means as "pretty"

as the

close voicings Smith used, which are more pianistic and create

a "shimmer"

that drop2 and drop 3 voicings don't possess.

Ron