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Originally Posted by pawlowski6132
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03-05-2024 08:05 PM
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The most-popular twentieth-century song is probably Yesterday. Discovering the most popular jazz song of the twentieth century would mean counting sales figures for numerous recordings by various artists. The best-selling recording of a jazz song is the Dave Brubeck Quartet's Take Five, according to most authorities.
Ted Gioia, who wrote the book on standards, gave JazzWax his list of ten "milestone works that have continued to provide a benchmark for jazz improvisers over several generations" They are:
I Got Rhythm
Body and Soul
St. Louis Blues
All the Things You Are
Round Midnight
How High the Moon
Caravan
Take the A Train
Star Dust
My Funny Valentine
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Originally Posted by Litterick
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Originally Posted by mr. beaumont
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Ok, since we were talking about accompaniment on ballads earlier, I thought I'd give this one a whirl. I tried to comp straight 4 a little more.
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Back to I Fall in Love ..
I didn't sing, but ill do one eventually...
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Originally Posted by mr. beaumont
Wonderful. I can't help getting distracted by your guitar and the nylon string tone.
Is that a "normal classical" with the >=2" nut?
I've been looking at the Lowden nylon strings with the <2" nut and radiused finger board but they're outrageous compared to the steel string offerings (not sure why).
What are you playing?
thanx for posting
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Originally Posted by pawlowski6132
It's a very inexpensive LaPatrie Etude. It's a bit of an oddball, it's an early model that has a laminated mahogany back and sides, they later changed to cherry. Cedar top. Been my classroom guitar for about 20 years...it shows it!
It's a wide nut like a standard classical, the fretboard is very slightly radiused. It also has a truss rod. It's not a particularly loud guitar and it doesn't project much, but it sounds nice for quick phone recordings of jazz/bossa style. Part of this might be my technique though too, and I do set it up with a lower action than most classical players would use.
I keep it out all day, sometimes students mess around on it a bit. Sometimes I'll grab and play a little while they're working on a project (I'm a drawing/painting teacher) and I always try to pick it up for a bit at lunch.
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Originally Posted by mr. beaumont
I have that same guitar!
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Originally Posted by pamosmusic
Fools seldom differ?
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Originally Posted by mr. beaumont
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Decided to start working on I Fall In Love too and transcribed Chet Baker's trumpet solo. Some of the rhythms probably aren't exact––he lays back a lot––but it's close enough to get you through it if you're listening.
In case anyone's interested.
(the lick at m9-12 is hip as all hell)
Dropbox - I Fall In Love baker.pdf - Simplify your life
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Question on analysis.
Looking at measure 9 would you say that is an Fm9(b11) arpeggio over the Aø D7?
How would you um, roman numeralize that part?
If I solo I know Eb pitches sound good for the first half and then some
of them get weird in the second half.
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Originally Posted by AllanAllen
BUT
An important point … I didn’t write in the changes but he takes the solo in double time, so it’s written that way. One measure of the written changes becomes two in the solo. So measure nine would be the first half of measure five of the written changes so m9-10 would be the G7 or Dm7b5 to G7 and m11-12 would be the Cm.
So the big Fmin would be a pretty inside choice for m9-10.
The second half starts at m 17, so that’s where you’d want to look.
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Man…. I’ve been strumming along for too long not to notice that.
Also, I thought double time would go through the changes faster. And half time would be slower.
Lastly, I couldn’t decide between Fm9 or the b11 because it goes up to Ab.
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Originally Posted by AllanAllen
Double time means the eighth note becomes the new quarter note.
That COULD mean that the changes go by twice as fast, but the default on the bandstand if someone says “double time” is that the changes take the same amount of time and the tempo doubles underneath.
So the bass player starts walking at the double time tempo etc and one measure of changes takes up two measures with the new tempo.
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Since the root was on a line I thought it wasn’t part of the chord because it was in the space. Forgetting Ab is the m3 and that it flips after an octave. In my defense, I’m trying to analyze this off the page instead of with my guitar. Pretty sure I would have caught that if I played it.
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Originally Posted by AllanAllen
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Talking about playing in all 12 keys.
I remember years ago ordering a Sax example book.
The same example was printed in all 12 keys on two pages.
So, really the book was 120 pages with only 60 examples.
I was so disappointed.
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I had a similar disappointment with Carl Fischer's The Guitar Grimoire. 200+ pages of scales and modes repeated 12 times. I get it that something like this markets because it's complete, but I have a 20 page book that has everything in G and it's just as good.
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Interestingly, apparently Charlie Parker didn't play his phrases in all 12 keys. Some phrases were only used in certain keys.
See Thomas Owens for confirmation of this fact.
Charlie Parker Dissertation Volume II Thomas Owens 1974 : Thomas Owens : Free Download, Borrow, and Streaming : Internet Archive
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Originally Posted by AllanAllen
Check out The Serious Jazz Practice Book. Everything in C, everything on major scales (or pentatonics or arpeggios). He expects you to do the transposing and the other scales yourself.
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Originally Posted by GuyBoden
The WHOLE POINT is to be able to play in a different key from the 'original' or common key of a song if you're playing with a singer who wants it in a different key.
I don't see the point of practicing something in every key since memorizing how to play something (and what??) in all the keys.
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Originally Posted by pawlowski6132
Not sure what’s not to get about that. On the other hand.
The WHOLE POINT is to be able to play in a different key from the 'original' or common key of a song if you're playing with a singer who wants it in a different key.
I don't see the point of practicing something in every key since memorizing how to play something (and what??) in all the keys.
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Originally Posted by pamosmusic
Nobody knows what Charlie Parker played in what key over his lifetime. Stupid.
Vintage fuzz on "space" transistors
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