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Why should it not be blues? And I like it.
Originally Posted by kris
But again harmonically not too fancy.
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07-24-2024 03:56 AM
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What is not in harmony is in the solos of the masters. Originally Posted by Bop Head
Often, outstanding soloists go far from the harmony of the tune, playing on the simple harmonic structure of the tune.
I mean modern jazz players.
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We could argue/discuss the merits of different forms of blues all day, but there is one musical authority who puts it elegantly and succinctly. Hans Groiner. Let me let him say it best:
The one song that teaches you not only 90% of jazz but classical music too!
(PS. This is humour, serious humour for an absurd premise)
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executing harmonic formulas is good and well. but where are the other 80%? Originally Posted by Christian Miller
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The answers have been along the lines of "tunes that are able to show off complex harmonic substitutions." Jazz is so much more than just complex harmony. I mean, "define jazz" is a nightmare quagmire, but there is a bit of you know it when you hear it.
And with that in mind, I'd say that learning a single Charlie Parker head and being able to play it so it sounds like bebop will get you a decent way towards learning jazz. Even his heads have advanced harmonic bebop thinking, but they also have the phrasing that makes those ideas work. His lines are all syncopated and they twist in upon themselves and then he plays a major 7th over a dominant chord and the universe not only doesn't shatter it becomes an even more beautiful place.
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Beautiful and masterful. Originally Posted by kris
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jazz gets often compared to language. people study their II-Vs and their chord scale-relationships to be able to form coherent sentences. but in jazz accent is everything. it aint what you say, it's the way that you say it.
no chord scales to analyse, no licks to steal, no lines to cop, no chops to admire. would most even consider studying this?
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Now, that's a swinging tune. Great solo too. Why wouldn't you study this? It's all the good parts of jazz. Originally Posted by djg
jazz gets often compared to language. people study their II-Vs and their chord scale-relationships to be able to form coherent sentences. but in jazz accent is everything. it aint what you say, it's the way that you say it.
no chord scales to analyse, no licks to steal, no lines to cop, no chops to admire. would most even consider studying this?
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I love Horace Parlan! And I have a high admiration for him who -- like Django -- had to develop an individual technique. His right hand was crippled because of poliomyelitis. Originally Posted by djg
jazz gets often compared to language. people study their II-Vs and their chord scale-relationships to be able to form coherent sentences. but in jazz accent is everything. it aint what you say, it's the way that you say it.
no chord scales to analyse, no licks to steal, no lines to cop, no chops to admire. would most even consider studying this?
He is on the original recording of Goodbye Pork Pie Hat and on that great blues album Trouble In Mind with Archie Shepp ... now we are talking about blues again LOL.
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I hosted a workshop with Peter Bernstein some years ago (Christian was there) and I recall PB stating that if one could really get comfortable with 'Embraceable You' that one would be able to deal with many of the changes that appear in the standard jazz repertoire.
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I never like the language to music analogies but some of them continue to work. Originally Posted by djg
jazz gets often compared to language. people study their II-Vs and their chord scale-relationships to be able to form coherent sentences. but in jazz accent is everything. it aint what you say, it's the way that you say it.
no chord scales to analyse, no licks to steal, no lines to cop, no chops to admire. would most even consider studying this?
I like comparing it to conversation. Idiom is everything. I could read a bunch of books about food and hospitality but wouldn’t fool a restaurant full of servers for a second. There is lingo, certain types of guests that rub folks the wrong way, certain ways of talking about where you are and what you’re doing, a pace and cadence, a technical vocabulary, an etiquette for how and when to speak at all.
Alas the language analogies still fit sometimes.
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Music and language are compared when those overlap.
Something similar is mixing vs mastering. Those overlap.. in the middle. Then the arguments happen.
That makes it all iffy.
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No one has commented on that yet. They should. Originally Posted by David B
Why do you think he chose that? It's just a silly old standard... heh heh :-)
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Let’s see it has … Originally Posted by ragman1
biii diminished
ii-V-I
ii-V to the subdominant
ii-V to the dominant
ii-V to the relative minor
ii-V to the iii chord
minor iv to I
a turnaround (in the key of the dominant)
that covers quite a lot
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Can you play it fairly easily? That's the practical bit :-)
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Actually that one, yeah. One of my very favorite tunes. Originally Posted by ragman1
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Me too, but the first time wasn't so easy, it got pretty tricky because of those ii-V's in the last half of the bars. Your M7 stuff can leak into the pick up and there goes your nice solo
Matter of interest, what key do you do it in and what tempo?
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G and a walking ballad. Not sure I’ve ever had a tune be “easy” the first time. Originally Posted by ragman1
Me too, but the first time wasn't so easy, it got pretty tricky because of those ii-V's in the last half of the bars. Your M7 stuff can leak into the pick up and there goes your nice solo
Matter of interest, what key do you do it in and what tempo?
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Same Originally Posted by pamosmusic
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Yeah. If the tune was hard, it was hard. Originally Posted by AllanAllen
If it was easy, I had to make it hard for some reason.
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Embraceable you
nice tune
I especially like the last four bars of the A section
(in G)
like ….
| Dmaj7. D#o | Em. A7 | D7. |.D7. |
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What about Stella By Starlight?
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I remember it, maybe someone already mentioned it. Or he said it in the some interview Originally Posted by David B
to me the tricky thing about this is not different ii-v’s but a lot of quite static harmony
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I remember a before and after Stella for me. It's a hard tune and it took me a while to be ok with it. I'm still exploring it. Originally Posted by kris
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