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Originally Posted by richard vandyne
Originally Posted by TRMP
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02-17-2013 11:03 AM
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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
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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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Great Work M-ster ! , the best cd of George Benson for me, the best transcription too !!
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M-ster did great work with a lot of nuanses.
Best
kris
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Thanks, guys! (I've enjoyed your transcriptions, too, kris!)
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Originally Posted by M-ster
Kris
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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!
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Originally Posted by TRMP
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 ...
Originally Posted by TRMP
Originally Posted by TRMP
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Originally Posted by M-ster
Thanks again.
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Safe to assume, measure 263 2nd B is flat?
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Originally Posted by TRMP
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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...
Moffa Mithra
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