The Jazz Guitar Chord Dictionary
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  1. #201
    Quote Originally Posted by christianm77
    Well we managed to do it....

    Turns out if you practice something you get good at it.

    Also, as Yoda said, failure is a great teacher. Since 96, Southgate (Eng Manager) has been THAT guy who missed his penalty at the Euro '96 costing us the competition. Imagine having to deal with that. The thing is despite that stigma, England have always been awful at penalty shootouts, and I stopped watching them for this reason.

    Well he learned from his mistakes, but the heartening thing is that he was able to coach the younger players to avoid the same mistakes he made. Maybe there is hope for progress from one generation to the next, and history is not condemned to repeat.

    Anyway, the English world cup campaign drags on and continues to fuck up my gigs.
    Well congratulations anyhow, even though this wasn't the result you wanted I'll watch the Saturdays game with some friends from England, so I'll be rooting for England (default thing to do in Canada in the WC anyway).
    What England needs is some creativity in the midfield I think, preferably someone who is not drunk during the game (i.e. Gazza) but even that was an improvement. I like how England plays so direct. When it works it's exciting to watch, but when they lose their way they just get bossed around by technical teams.

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  3. #202

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    Quote Originally Posted by christianm77
    BTW on Dolphin dance... Now some mention has been made of how this tune is related to Shiny Stockings. I find this hard to hear?
    Apparently the source for this is Herbie himself:

    Actual Proof: Dolphin's First Dance

  4. #203

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    Ok it goes to IIIm not IIImaj

  5. #204

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    I don't really like Dolphin Dance much. I think it's one of those irritating tunes with a fairly meaningless melody that's merely there to make life as difficult as possible for all concerned...

    However, when I think of dolphins moving in the sea I get that strange underwater feeling, so that's the way I play it. Also, it's just easier to do that way :-)


  6. #205

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    Yea... I've mentioned the motif, and organization etc...

    But... You can come up with any number of possible analysis... The point isn't to come up with the only analysis... it's to be able to see and hear the possibilities.

    I look at complete pictures.... and try and have a big reference. Then fill in the pieces and when I fill in the pieces.... I try and keep the big picture, as the reference. Like I said... I could and have and will... perform Dolphin Dance in different styles and harmonic, melodic and rhythmic organizational references.

    You want to test your analysis.... use it. And not a worked out memorized version. Try and use your analysis and play through the tune, record it and see if it works. See what you like and what you don't. See if you can see and hear other possible connections that might make what you hear work simpler... more complicated... whatever. When I made that vid and analysis... I did quick analysis and put together quick backing part and just recorded. That analysis was of all the notation on the page... melody, changes, rhythm and space... it was quick and could be different now or even the day after that day 7 or 8 years ago.... But there was an overall musical organization which kept the version together.

    If we're going to get into analysis.... it's complicated... the three basic approaches.

    Functional.... harmonic references from traditional history

    Schenker... connecting larger spans of music through understanding basic 3 layers of music. Melodic figures are elaborations of harmony.

    Warfield... extension of Schenker,...Contrapuntal Skeletons... results, how all the notes of tonal composition are related to one another. How every pitch forms a part of the complete contrapuntal whole.

    Then with jazz you need to use modal relationships of the above.... and figure out how Blue notes and MM become more than just embellishments
    Or not....

    rp... play the melody with your analysis.

    Bar 24... II V....E-11 A13
    Bar 25... II V... Bb- ma7 Eb7#11..(typical sub II V)
    Bar 26....II V...A-9 D13.... either back to G or III- which is function sub of G, but
    Bar 27... III- becomes a II- of a II V
    Bar 28 ...now V of related II-... B-9 E7 the D-7 delays with movement to
    Bar 29 and 30... C#-11 F#13 II V of Bmaj.... but instead goes to Bmin.... The parallel min. of Bmaj., and use more camouflage with already established use of pedal. Could just be III- of G. Old school III- phrygian modal functional groove... That's how I like to solo over....

    I just hear as dual function, dual modal function.

    You could easily see just typical I IV V analysis, through the simple melodic figure with related harmony... or two tonic... or even just all Eb with modal interchange of III.... or even just expansion of relative harmonic relationships. The note choices get a little muddy, but good players can make anything work.

    Why doesn't someone(s) post a vid of how their analysis could work... sometimes your playing gives more info than the analysis.

  7. #206

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    Nice Ragman... I liked how you changes some of the chord patterns.... C-7 C-7/Bb becoming C to B line cliche etc...

    It shut down while I was checkin out... I'll check later

    It came back.... cool... was hard to hear as one tune. Lots of things going on . Do you have a general reference when playing... or is it one or a few bars at a time...

  8. #207

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    Neither one bar at a time or several. Whatever it takes. But you have a good point about hearing it as one thing. This is probably better.