Confirmation

[Basshead]

Ive been working on some comping ideas for Confirmation, be great to hear your ones fellas, I went a bit spicy with this one

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[joe2758]

nice light touch

[AllanAllen]

Drop the baseline and you’ll do just fine at the jam session.

Do it
do it
do it

[Basshead]

Okis, I was adapting this voicings to a latin version I like but maybe better to stay true to the real book? I feel some of the changes are weird, that Amb5... not sure, I prefer Eb9 and the II Vs more like turnarounds sound better to me, does this tune come from a f blues?

[AllanAllen]

It’s not a blues form, but you said in the F blues thread they call this at the jam you want to do.

[Basshead]

oh ok does this tune com from another one like doona lee from that amstrong lousianna one?

[Christian Miller]

oh ok does this tune com from another one like doona lee from that amstrong lousianna one?

You mean the jazz standard Indiana? Even I know that’s a long way from Louisiana geographically.

I don’t think Confirmation is a direct contrafact (which is what they call a tune written on a tune)

The A section bears some resemblance to Georgia on my mind, in that it tonicises I VIm IV and II. This is a common formula in jazz standards. Here's some notes I typed up on it:


another one is I Wish I Knew How it Feels to be Free, as well as non-jazz stuff ranging from Billy Preston to Bach and Brahms.

Btw I see this as a development of the Pachelbels canon progression (called the Romanesca) but featuring secondary dominants.

The B section however is quite different and doesn’t remind me of any other tunes off the top of my head.
Anyone?


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[AllanAllen]

Wikipedia says the A is Twilight Time and the B is Parker original.

[Christian Miller]

Wikipedia says the A is Twilight Time and the B is Parker original.

I don’t know that tune… interesting. Not a song that has much of jazz discography for whatever reason.

Anyway I buy it. Unlike Georgia it has the first and second time endings we see in confirmation. It also sounds melodically connected in some way to the original, as if the bebop head is an elaborate paraphrase of the song melody. There’s this quality to a lot of Parker tunes.

Another one to add to the list of tunes with that type of A

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[PMB]

The closest precedent I can hear for both sections is Flyin' Hawk by Coleman Hawkins recorded in 1944, a year before Confirmation appeared. It's in the same key with similar changes for the 'A' section. The bridge also goes up to the IV (although the move to bVI towards the end seems unique to Parker):

[Basshead]

Nice, thanks fellas, great info.