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I did already start a thread on this topic but it seems to have randomly disappeared.
This thread is to share the transcriptions you come across. I'll start:
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07-18-2022 07:42 AM
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I have been mining this one on and off for some time now
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I know this one.
Originally Posted by Average Joe
Chris Potter is fantastic!
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I learned a ton from these, both about playing over the tunes, and about Scofield
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...are we evaluating here the quality of the transcriptions, or the music itself?
in case of the "music" it would be easier just pick the recording on youtube... in case the "quality"... well I do not have that ear... just by reading the score while listening.
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Neither - I just thought it would be nice to have a thread specifically devoted to transcriptions you find on youtube or elsewhere that interest you and therefore maybe others. Originally Posted by Gabor
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I'm always surprised how simple the truly great players were. I don't think you could do better over these 8 bars.
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This is terrifying Originally Posted by James W
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Adam Rogers - patron saint of making stepwise scale and tertial arpeggios sound like the hippest thing you ever heard…
I’ve had so many experiences like that transcribing. ‘Hold up! What is that!??’ Later ‘oh it’s a major scale.’
Last one Wayne on ESP… what is that super hip altered scale he plays on E7?
Oh it’s B major.
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Yeah for real, he's a master at weaving together simple ideas in complex ways. His most out sounding polytonal subs are just like major scale modes starting from dissonant intervals. I did some of these lines and if I remember correctly at one point he's playing F# major over D min. Lots of tension, but still hits the min 3rd and maj 7th of D, so kinda in? Lol Originally Posted by Christian Miller
Just goes to show, people go crazy trying to learn all these exotic scales, but you can sound as modern as they come if you know your major and melodic minor scales really well.
Edit: F# Dorian not major. So you get the 5th and maj 7th. Both are cool subs actually.Last edited by BreckerFan; 08-28-2023 at 02:17 PM.
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With the b3rd and maj7, that's Dm as a tonic minor? Originally Posted by BreckerFan
Interesting. Because he's got a D# in the line against a Dm and he's got the b5, which could make it sound like a iim7b5.
Then, if you're willing to adjust one note on the fly by ear , just knowing major scales (and allowing that one alteration by ear) gets you all kinds of things, including all the minors, if you were to choose to think that way -- and you knew how to use them. And, as this thread points out, you'd also get outside sounds by the masters.
There's some organization to be done to make this a viable approach, but it seems to me that it would be possible to make a list of sounds to work on -- and there are plenty of options.
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Yeah that's kind of how he talks about it when he discusses outside playing. Either altering the scale (ie playing D superlocrian instead of D Dorian) or superimposing another scale (F# maj over D being a pretty extreme sub, and one that interestingly works over minor or major). Originally Posted by rpjazzguitar
I've tried to catalog a number and it's pretty fun. Endless cool sounds, and it doesn't require any new scales to be learned, although you do have to practice doing the math on the fly to be able to improvise with it.
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I feel like I’ve also seen him talk about using triads for polytonality? Like if you’re targeting a D, using some triad with D as the root, third, or fifth as a way of embellishing it and also getting those wild sounds he’s into.
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Similar to Garzone's method? Originally Posted by pamosmusic
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Yeah he'll do that kind of triad embellishment from different intervals, I remember him showing specifically the b5 in an instructional video. You can hear him doing it in that impressions video too.
Really there are no rules, you can play anything over anything as long as you know how to resolve it haha. But having an approach helps narrow options down and also helps study how to systematically increase tension or outness. It's helped me a lot anyway.
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OH. Don’t know actually, but I had a saxophone buddy who spent some time studying with him at Berklee and he was always talking about that kind of stuff. Originally Posted by mr. beaumont
I wasn’t listening that closely, apparently
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Adam explains his process very cogently in his my music master class vids. He talks for example about playing on the guide tones, but ignoring the rest of the chord. So for example, playing Db lydian on dm7 (because the 3rd and 7th are the same, kind of like an extension of tritone subs in a way.) and his triad superpositions. I don’t remember him mentioning Garzone, but there’s some similar ideas.
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Ah that’s where I saw it! The polytonal triad stuff in it really stuck with me. Originally Posted by Christian Miller
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This seem to have turned into an Adam Rogers thread....
Re: Johnny Smith, has anyone seen a transcription of his rendition of Shenandoah? I transcribed it at one time, but don't know where it went.
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Ask and your shall receive. Check out Francois Leduc's YouTube and Patreon site. He's a transcription machine and publishes around 2 per month. IN addition to several Smith transcriptions, there are transcriptions for Bickert, Peter Leitch, Kenny Burrell, Wes, Joe Pass and, well, you get the idea.
Regards,
John Galich
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Many thanks, John, I recall it took me quite a while to get all those lovely counterpoint lines.
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I did these about 30 years ago (the dropbox link). The accuracy is not all that great in places. I was using a cassette boombox without the ability to slow anything down. A few years ago, interestingly enough, a dissertation appeared with transcriptions of solos from the same albums. Probably a coincidence. Seemed like a nice enough fellow. Probably more accurate, too.
Dropbox - fristranscr.pdf - Simplify your life
A study of Bill Frisell through Paul Motian's On Broadway recordings
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