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Here is my take on Bars 1-8. I played it twice through only changing the pick. Take 1 (Dunlop Tortex .50mm). Take 2 (D'Andrea Pro Plec 1.5mm).
I will be on vacation Aug. 11-25 and won't be able to record, so I'm trying to get as far along as I can this weekend. I'm sure I will be able to keep up.
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08-05-2017 01:45 PM
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Originally Posted by losaltosjoe
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Here's my take on bars 1-16. As I mentioned, with vacation looming, I've got to submit these early.
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Originally Posted by losaltosjoe
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Originally Posted by losaltosjoe
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I don't know how far I will go with this because I've been pretty busy lately, but I happened to have this DVD and never cracked it open before. I got it as a bonus when I bought other material some years ago. This seemed like the moment to give it a whirl.
Here goes bars 1-8:
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Originally Posted by rlrhett
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Originally Posted by rlrhett
I love groups like this where instead of talking and wrangling all day, we PLAY. Basic stuff, to be sure, but the Conti group PLAYS. Love that!
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Originally Posted by lawson-stone
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Originally Posted by rlrhett
Mike
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Originally Posted by rlrhett
Welcome !!
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Here's an effort on Mm. 1-16. First I play a draft of the tune's first 16 measures, sort of a cobbled-together chord-melody. Then Conti's first 16 measures, then, well... after all, Conti said you could just play blues over mm. 1-8 and 13-16, so I gave it a shot, throwing in a random II-V-I-V7 line for mm. 9-12.
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Originally Posted by lawson-stone
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Originally Posted by Doublea A
I confess I was stunned when Conti illustrated how you can "just play blues" over the basic progression in ONS. I've played at that tune for 20 years and never felt confident improvising over it. Then, in one fell swoop, Conti reduces it to a single idea. Granted, "just playing blues" over it can get thin. But as a second chorus or change of pace, it is something to try! I should note that I'm using the Bb "Major" Blues scale, i.e. the Bb major Pentatonic with the "blue note" (b3) thrown in. You could also call it the G Minor blues scale.
Also, he's right about it just being a iii-VI-ii-V progression. Dm7 is the iii of Bb; Db7 is the tritone of G (the VI of Bb), Cm7 is the ii, of course, and B7 is the tritone of F (the V of Bb). All of which suggests that one could even improvise using the Bb major scale and some chromatic ideas. I might try that on my next effort.
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Originally Posted by lawson-stone
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Originally Posted by losaltosjoe
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Originally Posted by lawson-stone
Your analysis of the chord progression is bang on. A classic case of tritone substitution.
Think of this : D-7 G7 C-7 F7 Bbmaj7
iii VI ii V I
Now tritone substitute the G7 and the F7.
The new progression is D-7 Db7 C-7 B7 Bbmaj7
iii biii7 ii bii7 I
A similar progression occurs in the last eight bars of Autumn Leaves.
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Originally Posted by lawson-stone
Agreed. So far Vol 2 is far superior to Vol 1 in terms of solo development.
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Originally Posted by Doublea A
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I've been working on the "bridge" in mm. 17-24 and have found it tricky. You wouldn't think a line of 8th notes could be hard, but I'm finding it hard to play with a good sense of the time. Seems like the line lays over the beats in a nice, but rather tricky way!
I also tried a different recording method than usual, so figured I'd post this effort and see how it works.
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Originally Posted by lawson-stone
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Here is my 1-16. Just like in the Rhythm changes study group, I am finding it hard to play 16 bars of a memorized piece. 40 is going to be possibly insurmountable for me. But for now, here it is with some flubs. Perfect is the enemy of done.
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Originally Posted by rlrhett
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Originally Posted by rlrhett
Mike
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Originally Posted by rlrhett
I have a hard time memorizing as well. So I don't memorize.
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