George Benson - Billie's Bounce

[M-ster]

M-ster Lucky me I am working on a transcription of Just Friends in F ...

Hi, Richard. I've transcribed Pat Martino's version, if that's the one you're working on.

... I know that it is physically possible as you have shown, I just don't see Benson
doing that for that style of comping. Maybe I need to listen closer. Or Maybe he let the root go at the 15th fret- as the upper half harmony of the first example seems right to me ...

I agree that the 5-note voicing probably is more complex than what is actually happening. I'm pretty sure I hear the C in the voicing (it's not the root, it's the 5th, relative to the surrounding F7 harmony), it's the middle stuff that may be questionable.

[richard vandyne]

M-ster-The transcription i am working on was done by Rich Severson and has comping,tracks,soloing and much more. I would really like to see your stuff.Do you have a pdf or....... Thanks for the reply

[TRMP]

Or one might switch out the G and A in the 2nd example for a Cmin9 shape (yes C is 5th But I think your 2nd example is more apt to be the voicing.

---10
----8 (or 10)
----8
---10
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[pbguit]

Great Work M-ster ! , the best cd of George Benson for me, the best transcription too !!

[kris]

M-ster did great work with a lot of nuanses.
Best
kris

[M-ster]

Thanks, guys! (I've enjoyed your transcriptions, too, kris!)

[kris]

Thanks, guys! (I've enjoyed your transcriptions, too, kris!)

Thanks...:-)
Kris

[TRMP]

In the out head, measure 308 2nd bar,
B Natural or C?

separate point.
Just a little note, in general, noticed it a few times, if a flat or sharp note is repeated an octave down but is now assumed natural by the writer, it isn't that way in other notation, usually there is a courtesy NAT accidental unless forgotten.

Great transcription, thanks!

[M-ster]

In the out head, measure 308 2nd bar, B Natural or C?

Yeah, it's a C elsewhere, but whether it's slightly fudged or whatever, I thought it might be a B there. Then I started liking it and didn't want to forget to play with it, so I left it in.

I think I cut & pasted that last head, to begin with. There are a number of notes that are shorter than what's notated through there. I should update that file ...

separate point.
Just a little note, in general, noticed it a few times, if a flat or sharp note is repeated an octave down but is now assumed natural by the writer, it isn't that way in other notation, usually there is a courtesy NAT accidental unless forgotten.

You're actually describing the way I learned it, too; but Sibelius only applies the accidentals to the octave in which they appear. I presumed maybe that was a newer practice than how I learned it back in the stone age.

Great transcription, thanks!

Yes, sir, you are welcome.

[TRMP]

You're actually describing the way I learned it, too; but Sibelius only applies the accidentals to the octave in which they appear. I presumed maybe that was a newer practice than how I learned it back in the stone age.

So I had to go check Sibelius out, 6.2. I wrote a D flat and then a D again down low, it forces a natural onto it. If I had a third D after the D Natural and deleted that middle D Natural altogether, the next one has a Natural pop up. At least version 6.2 is forcing naturals onto the next note.

Thanks again.

[TRMP]

Safe to assume, measure 263 2nd B is flat?

[M-ster]

Safe to assume, measure 263 2nd B is flat?

Yes.

[FPC-music]

Guys like Jimmy Raney were also doing this all the time with great mastery.

You can always Sub a V7 chord with the appropriate IIm7 chord. You can use them both or either of them as you like.

Also you can always use the good old Tritone sub. on Dominants.



With these 2 simple rules there´s quite alot of variations you can come up with on a simple 251...

[flo]

The Dorian ( 1/2 step up from Dom 7 chord) is used as much as the melodic minor up 1/2 step. It gives you the A Maj7 arp you are looking for. Benson views the E note as just the flat 5th of the chord you are going to, (in this case Bb7) and gives you a bluesy sound. Martino and Benson both use use the 1/2 step up dorian (as well as the common melodic minor) all over the place. That E note is also a nice leading tone from the 7th (Eb) of the F7 to the 5th (F) of the Bb7. (Also comes from the bebop scale as well.)

From what I understand about George’s playing, is that he is just side stepping to Bb from A, and he isn’t thinking about F at all.

There’s many examples of him side stepping in his solo’s, I thought it was really common of him.