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There was no mention to bud powell and charlie parker so far whilist they are the founders of the Bebop language according to a lot of knowledgeble guys !
regarding those two , do you think their "heads" encapsulate the essence of the bebop language ? some recommand studying all bird's heads ? what do you think ?
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09-28-2016 11:02 AM
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Charlie Parker, definitely! There's so much in the heads of his tunes. I keep hearing those little licks from Barry Harris by Parker's music. Bud Powell comes from Parker but I find him a bit different though..
Originally Posted by mooncef
https://www.youtube.com/channel/UCpG...ehpkEjhFsr-FZQ
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If I rewrite this, displacing things into the right octave, is this correct? Originally Posted by NSJ
5: 12 7 8 11 10
4: 11 9 #9 10
3: 3 5 b7 9
2: 9 b7 7 8
1: 8 7 b7 9 6 5
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I don't think there is a wrong answer, you can displace it octave wise wherever you want. I just go we pre-operative baseline instruction that the top note is always the highest note in each sequence, and everything else falls below. Obviously, feel free to change it as you see fit . Originally Posted by BigDaddyLoveHandles
So for the 1 sequence if for example 1 equals C played on the third string 5th fret , The next two notes are just chromatic stepwise movements to B flat, and the D is on the 5th fret, 5th strung. And then the final A and G on the fourth string .
Feel free to change it however you want, I just think it works more elegantly when the baseline understanding is that the 1st note is highest top note in the sequence .
Hope that was clear. The trick is always to take something and make it Your own . It's just a bunch of note Sequences .
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There are some more examples here (although I didn't see the point of the lengthy digression about Turing!)
https://blog.uvm.edu/tgcleary/2015/0...-is-the-bombe/
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I Think it's more important to recognize patterns and it is study licks. This is what Mike logo says. If you studied these 5432 patterns, you will see a hallmark trademark of bebop: filling in the whole steps with chromatic movement .
Eagerly await Ing in the mail forthe two Mike Longo books that I just ordered . Where he teaches you the Dizzy Gillespie Way of creating melodies from rhythms.
No I'm not sure that the 1 pattern actually was codified. In any event, it makes sense and it sounds good. I'll continue to use it .
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Looks like he's trying to draw a comparison between Parker's genius for musical patters, and Turing's for mathematical patterns. I think he's reaching, but whatevs. Originally Posted by grahambop
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I expect Turing could have designed an amazing machine for generating infinite Charlie Parker licks! Originally Posted by Boston Joe
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Maybe Bird went over to Bletchely Park during WW2? Top secret stuff...
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Am7 … …….D7……………...G
| A C E G | F# Eb C C# | D …… Then perhaps the FIVE PHRASE of Barry's listed above.
or
Am7 … …….D7……………...G
| A B C E | Eb C A A# | B …… Then perhaps the THREE PHRASE of Barry's listed above. (with 7 not b7)Last edited by A. Kingstone; 09-28-2016 at 08:16 PM.
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Originally Posted by mooncef
Happy Birthday Bud.
(sorry I'm a day late)
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I was able to steal a second to try out that "1" phrase while changing my son's diaper, and it does sound good. In terms of octave placement I was doing:
8,7,b7,9,13,12....I don't think I've ever said "12" for a scale degree in my life haha
One thing I found interesting is that it ends on the 5th on an upbeat, so running it into some of the other phrases requires a chromatic note or rhythmic variation. Which is good for variety, creativity, and problem solving anyway
Edit to add: pay close attention to A.Kingstone. he doesn't post a lot, but when he does it's worth noting!Last edited by joe2758; 09-29-2016 at 08:25 AM.
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Thanks for that, Graham. Interesting stuff. Originally Posted by grahambop
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I'm reading this as "I think it is more important to recognize patterns than it is to study licks." Right? Originally Posted by NSJ
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Originally Posted by joe2758
If you think it is one entire bar of 6/8, there is no need to add a chromatic note or anything else, it fits by it self.
It's just 1-2-3 1-2-3.
Yep. Eagerly awaiting the Mike Longo books
"The question must be asked: whose licks were Charlie Parker and Dizzy Gillespie copying ? A pattern and a lick are not the same thing. A pattern is a grouping of notes into a logical sequence, that once the rhythmic embellishment begins, loses its identity, and becomes several different free-flowing melodies. A lick is something that someone else had played and you copied; this is not the result of your sense of rhythm. Dizzy one said to this pianist in Florida, 'find yourself a rhythm and hang some notes on it'. The rhythmic behavior of Dizzys music is, for example, the polymetric conception which includes this simultaneous running of 5/4, 4/4, 6/8, 3/4 and other meters primarily responsible for the melodic rhythmic nature you hear in his playing."
Mike Longo, pianist and musical director for Dizzy Gillespie
Miles Davis one said that if he was a branch in the tree of jazz, Dizzy was the trunk of the tree.
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yeah, wouldn't that fall into the "rhythmic variation" category? Anyway, two triplets would still leave the 5th off beat. One triplet followed by an 8th would line it up with the other phrases better. Originally Posted by NSJ
I'm not a "chord tones on the beat" nazi, it's good to experiment, but the BASIC version of these exercises starts 1 on the beat, two on the up beat, 3 on the beat, 4 up beat, 5 on the beat.
play your "1" phrase into the "5" phrase and you should see what I mean
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Tried some of those patterns last night, and really liked them. I know what I'll be practicing for a while.
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Joe-
did you find groupings of small phrases into one larger phrase helped with your articulation? That's my favorite part; sort of built-in phrasing
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ah see it fits if you think of it as quarter note triplets. Which are a pain in the ass to count using the conventional subdividing of rhythms way. Originally Posted by joe2758
Understanding Quarter Note Triplets | BANG! The Drum School
I was working a little bit on Indian rhythms, which are predicated on the opposite concept----- on additive rhythms. I believe that's the concept that Mike Longo emphasizes . This is one of his books that is highly highly recommended by his fellow piano player, Hal Galper.
"How To Sight Read Jazz and Syncopated Type Rhythms"
How To Sight Read Jazz and Syncopated Type Rhythms
"Learn the difference between rhythm as it developed in Africa and the Eastern part of the world, as opposed to our Western concept of rhythm.You learn to subdivide rhythm according to these Eastern principles along with a method for applying this to professional sight reading which enables you to come up with the exact interpretation of even the most "difficult to read" rhythms the very first time you perform them. As you progress through the course you will become acquainted with the traditional practices of jazz notation as it has been evolved by jazz composers and arrangers in the U.S.A. along with with some amazing insights into the unique type of meter which is exclusive to contemporary jazz.
Later in the course a sight reading technique is presented in which you learn to organize the time on the page in a completely unique fashion that can produce dramatic results in your ability to read and play rhythm at sight. Once you have learned the technique, the course takes you through a daily training program involving 35 reading exercises that are to be practiced daily employing a certain principle explained in the course. You will realize a drastic improvement in your sight reading ability if you apply these principles to this program and then move on to other music later. This can be accomplished in a matter of weeks if this regime is followed daily."
The other book that I ordered is called "the improvised melodic line".
"Having the right piece of information about a particular aspect of playing can be of tremendous value to the budding professional. It can literally save you years of trial and error-type experimentation. Why is having the right information so important?
YOU LEARN: How to use rhythm as a source of melody; How to create melody from a single tone; How to weave lines in and out of chord voicings and the tones involved in a chord progression; How to construct runs to be used as tools to create spontaneous melody; How to use the entire chromatic universe through the use of modes and by employing non-harmonic tone technique; How to negotiate progressions like the II-V pattern spontaneously rather than rely on memorized patterns.
Not only are you provided with valuable information, but you are shown how to practice to produce results the very next time you perform. In this course the work is mapped out in such a way so as to foster the tendency of creating an original style for yourself. You actually learn the techniques and practice methods of the accomplished musician, enabling you to experience an almost immediate growth as you begin to incorporate them into your playing.
You will learn how to use a single line of melody to convey the harmony, rhythm, counterpoint and form of an entire piece of music, unnaccompanied. You are provided with exercises which act as catalysts for unlocking certain kinds of rhythmic and tonal behavior in your playing as if by magic."
r which is exclusive to contemporan the course a sight reading technique is presented in which you learn to organize the time on the page in a completely unique fashion that can produce dramatic results in your ability to read and play rhythm at sight. Once you have learned the technique, the course takes you through a daily training program involving 35 reading exercises that are to be practiced daily employing a certain principle explained in the course. You will realize a drastic improvement in your sight reading ability if you apply these principles to this program and then move on to other music later. This can be accomplished in a matter of weeks if this regime is followed daily.
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Originally Posted by NSJ
Hi,
What's the name of these books you ordered by Mike Longo?
Thanks
Ken
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Hmm, sorry, if you mean two groups of quarter note triplets, then I still can't agree. Again, one set of quarter note triplets followed by 8th notes would get you lined up. Rhythm is super fun to experiment with-- just wanted to make sure anyone learning these things from this thread arn't starting of with lopsided phrases-- they can take it in that direction later Originally Posted by NSJ
Last edited by joe2758; 09-29-2016 at 10:37 AM.
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There are some good guitar-cleaning products on the market nowadays. Originally Posted by joe2758
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gotta make time my friend! most of my practice these days is one handed while mowing the lawn, showering, driving, brushing my teeth etc
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I did a little bit. I didn't really have much time to mess around with it. Sounded good though. Originally Posted by joe2758
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