-
Originally Posted by TLerch
Paul
-
01-25-2018 08:01 PM
-
If you guys are interested, here are Ted Greene's arrangements.
http://www.tedgreene.com/images/less...1982-04-12.pdf
http://www.tedgreene.com/images/less...1984-09-14.pdf
You might notice a few similar moves in spots to what Tim Lerch does.
More food for thought....
-
Originally Posted by John A.
Originally Posted by matt.guitarteacher
Originally Posted by lawson-stone
Originally Posted by PaulW10
-
Thanks Mr Lerch , beautiful and insightful !
I Like that stretching tip for the chords with the
ninth in the bottom ... Etc
I love that sound on guitar too but can't grab em
very easily , so that will help me a lot I think ...
Its so interesting how all the the different personalities
come out in weird wonderful and unexpected ways !
Really great stuff from everyone ...
Loving this thread !
-
Well, here's one without the Littles yelling, but unfortunately the wine at dinner was really good. And the glass after dinner.
C and C...unless it's about the extra beat or two, because my sloppy ass knows about those already
-
Originally Posted by PaulD
I put many hours in on this tune last month, and ransacked over a dozen classic performances for ideas.
I hear (what I think of as) Wes's chromatics down to the F (Gmin Dstring 5th or 6th bar) and to the 3rd of Eb7 a couple of bars later (this seems to have been adopted by many guitarists), and around 1.27 that upward thing reminds me of the Johnny Smith version.
Inspiring!
PS nice to see a GB10 being put to such good use :-)
-
Originally Posted by John A.
More specifically
- a first chorus arrangement that is very close to the melody
- a few more choruses that are looser
- a couple of options for a beginning and an end.
I also try to identify an area within the tune that helps me work specifically towards a study goal - eg a particular type of reharm, a specific type of scale fragment.
I spent a couple of weeks on DOWAR last month before this thread opened, and one of the trickier things about it for me was getting a tempo with a good feel. Paul D's version takes an interesting approach to this by employing a ballad feel for chorus 1, and a boppier feel for the other choruses - great stuff!
-
Originally Posted by mr. beaumont
For me, this is the most helpful clip that has been posted so far. Nothing against any others, but this one captures something of what I wish I could do on this tune.
But I don't drink... will that be a problem? Could it be "Days of Tea and Camellias?"
-
Originally Posted by lawson-stone
Personally, I can hear the wine a little too clearly I can't drink like I did when I was in my 20's, that's for sure, two glasses of wine and I'm rosy cheeked. But if there's anything you'd like to steal, let me know, I should be able to figure out what I was doing.
Somebody had asked for grips, I think I'll post a sheet of all my favorites today...I definitely have "pet" shapes" I go to to nab certain melody notes...anyway...onward!
EDIT: Had a little unexpected time this morning, so here...
Pet Voicings…
So my big thing is having stock voicings that work for a lot of situations and that can be modified easily to grab different melody notes on top. I consider the top note in any chord I play melody, even when comping. The basis of most of what I do is the same basic drop 2’s and threes everybody knows, when playing with others, I’ll often just drop the root if it’s on the bottom, but when playing solo, I’ll play a lot of root position chords, actually. I also tend to keep things pretty small, I hear some chord melody types play a lot of 5 and 6 string chords, that doesn’t work for me, it’s like playing with your volume on 10, and then you go to solo and the bottom falls out. Well, it does for me, anywayJ
I’m gonna analyze what I do for the first few bars of the tune, covers lots of chord types.
Fmaj7 x x 3 5 5 5, 3rd melody on top, can easily be altered to put 2nd on
top (x x 3 5 5 3)
I use some sort of E root chord to move down to the Eb7#11. When playing solo, if you voice lead, there’s lots of options and you can get away with some stuff…I think here I go for an Em11 (x 7 x 7 7 5) or an Em7 with the 11 on top (x 7 x 7 8 5)
Almost any kind of E root chord could work there, though, it’s all about passing.
Eb7#11, totally stock voicing, (x 6 x 6 6 5) I’m noticing I’ll often leave low thirds out of these chords if they’re not melody. Just what my ears like.
I harmonize the “of wine” with a Cmaj triad and the augmented partial that sits on top of that Eb7#11 chord… x x x 5 5 3, x x x 6 6 5
And when I get to “Ro” in “roses,” another stock drop 2, Am7—x x 7 9 8 10
I’ve seen charts that go right to altered dominant sounds on that melody line, but plain old Am7 to D7b9 is just more romantic to me there. D7b9 comes after the melody, a space filler, can be x 5 4 5 4 x, but I might play just the top two notes even.
For “laugh and” I go to the guitar players good friend, the diminished chord, to nab the melody, and then it’s into another standard drop 2 for Gm7, 3x333x…
Approaching “like a child at play” I tend to do some sort of single note fill, I noticed I did that in both versions I did so far. I approach that bar with sort of a Bbm6 with a maj7 on top, to Eb7#11 again, but I suppose it’s all just Eb7#11 and I’m changing the bass note to supply a little movement—so 6 x 5 6 6 5 (might not play every note) to really just Eb9 (x 6 5 6 6 x) to the upper part of Eb7 to sort of resolve (x 6 5 6 4 x, but probably only playing the 2nd and 3rd string)
Anyway, this is getting long. Hope it helps somebody.Last edited by mr. beaumont; 01-26-2018 at 12:27 PM.
-
Originally Posted by mr. beaumont
Nice!!! Great improv too! Very enjoyable Jeff!
-
Originally Posted by mr. beaumont
Thanks for taking the time to do this Jeff. Can't wait to get home with a guitar and try them out for real!
-
Originally Posted by PaulW10
I'm giving away all my "secrets" today...keep the voicings small, drop the roots to make things less obvious, use chromatic 1/2 step approaches and "digressions," voice lead wherever possible, learn to grab as many different "top notes" as you can for every chord shape you know...
-
Originally Posted by mr. beaumont
I've listened to your clip a few times and went back and looked for examples of the 1/2 step approaches and voice leading especially. They do make everything sound smooth! Good tips! (With this thread I might have to start keeping a guitar at work to try out what I'm learning right away)!
-
Originally Posted by mr. beaumont
-
Originally Posted by sunnysideup
-
I had to chime in on PaulD's great post too...I think the way he did the head rubato, then went to swinging, is the way this song works best for me...Playing that head as a swing almost always sounds too "quick," and if I really slow down, the swinging part drags...
-
Originally Posted by sunnysideup
John
-
Originally Posted by John A.
You're lucky to have other people around you to play with! And yes I agree, that's the best way to do it.
Actually my comment about how to approach tunes was a lot more idealised than what I usually do. For some reason I got a bit more serious with DOWAR last month before this thread opened. I've been trying to apply the Barry Harris approach, and also to use the whole tone scale in a natural way. For some reason both seem to have fallen into place a bit for me with DOWAR.
-
here is Dan's video
nice job Dan I like it in that key.
Tim
-
Originally Posted by TLerch
Sent from my iPad using Tapatalk
-
Dan, sounding good! Man, I love nylon string guitars...
-
Thanks....I used to play a Martin steel string guitar also but I got tired of lugging around two guitars and made a decision to just play nylon.....Dan
-
Originally Posted by jazzdan
-
Originally Posted by TLerch
Yes that was quite nice. Some nice voicings and pleasant sounding open strings, and a very nice ending! I really love nylon string guitars for solo playing.
-
Great versions by everybody. Here's my quick trip through the tune. (and how did my iphone know my youtube identity......?)
Incidentally, the joe pass Chord solos book has a great version of this tune in it. Those of you who are learning what to do with this tune should check it out, as it is a great example of how absolutely common chord grips can be used to do great solo guitar arrangements.
Rob MacKillop not feeling well.
Yesterday, 10:43 PM in Everything Else