-
Originally Posted by steve burchfield
-
05-27-2021 10:40 PM
-
Originally Posted by steve burchfield
My Band camp
-
Originally Posted by sgcim
-
Christian raises a good point about being flexible in terms of what register to play a tune in. Playing in a particular register might sound good doubling some instruments but terrible with others. For example, I've found that upper register melodies can sound weirdly disconnected when playing unison with upright bass, and also may spotlight intonation conflicts with soprano sax or flute. On the other hand, some fast articulations sound much better in the upper register. Of course, it's a matter of personal taste, but the choice of register really can make a difference. Also, it may not be possible to maintain the feel of a melody over its entire range, so as the video points out, there's no shame in switching registers within the tune.
Last edited by unknownguitarplayer; 05-29-2021 at 05:20 PM.
-
Originally Posted by Marinero
Originally Posted by sgcim
So I agree with coolvinnie: learn it by ear! Whether I look at the score first or hear it first doesn't matter to me, as long as I start with the right notes and how they're "supposed to sound". I send video links of original performances to my guys for many of the tunes we play, to make sure we're all going to play the same version. For me, little compares to the embarassment of having to restart a tune after a few bars of cacophony
-
Originally Posted by nevershouldhavesoldit
Hi, N,
Mine has a white cover with black printing, spiral bound and is in a box ,somewhere, in storage. I think I bought it in 1963-4 when I was a young saxer. It was a treasure trove of Jazz standards. It is a tattered relic, for sure.
Play live . . . Marinero
-
Originally Posted by Marinero
And speaking on behalf of crusty curmudgeons everywhere, I owe a lot of what I am today (good and bad) to early experience followed by a lifetime of augmenting, correcting, clarifying, amplifying, improving, qualifying, explaining, reinterpreting, and having to unlearn what I initially thought was definitive. The bootleg charts we called fake books are subject to all of that, which does not diminish their value at all, as I see it. Much of what I learned in school turns out to have been in need of similar editing.
I don’t think that many bebop greats intended to create enduring scores to be played forever by adoring disciples. I suspect that a lot of bop, whether written or improvised, was meant to be beyond the capability of most others to play. The “cutting contests” typified by the legend of the cymbal thrown at a young Charlie Parker by Jo Jones for poor playing at a jam were real and boppers were as elitist as Thurston Howell III. This is not new or novel - Liszt did the same thing. So cop it if you love it and reimagine it if you prefer, as long as the others playing it with you know what to expect.
Those early fake books complemented records, and together they were the basis for my (and most others, I presume with no evidence to support me) foundation in jazz and commercial playing. Even at 12 years of age, I saw and pondered the differences between recorded and scored versions of the same tune, wondering which was “correct”. And 60+ years later, I realize that the main (and probably the only) reason for spec’ing a given version is so the band sounds right. Whether I play Mac Tough like Pat Martino does on Live at Yoshi’s or on Stone Blue is a matter of taste, not correctness.
Today we have Real Books, and the internet gives ready access to multiple versions of everything. I treasure my hard copy tomes, but I’m happy to have all the support I can get. So I carry every book I own with me on a phone or tablet, and I can make sure everyone in the band has the same version of a tune before we play it. But my original Fake Books are treasures of memory as well as music. I’m taking them with me when I go!
David
-
Originally Posted by sgcim
Affordable semi-custom strings from mapes
Today, 08:18 PM in Guitar, Amps & Gizmos