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Originally Posted by corpse
I consider this to be one of Ted's most approachable arrangements. Much easier than Moonglow, which I posted earlier. And, of course, it sounds best on a 50s style Telecaster.
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02-11-2020 11:04 AM
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Originally Posted by corpse
Corpse, thanks for this. Did he have you do this stuff on the melodic minor or m6dim scale?
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02-12-2020, 10:52 PM #53joelf Guest
I'm shedding my parts for the maiden voyage gig for my young, spry and talented Philly crew---in 2 days at Fat Cat, 6-8:30, 75 Christopher St, The Mango. This will be almost all my music, including a tribute to Fat Cat's recently deceased hardworking and generous manager, Benson Gee.
Instrumentation: trumpet/flugelhorn (Elliot Bild); vocals (Jon Williams); Hammond B3 (Scott Edmunds); drums (Steve Perry); and a knucklehead named Joel Fass (guitar/composer).
Remember those names (except mine) you'll be hearing them again in our music sphere...
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02-13-2020, 10:26 AM #54joelf Guest
I have two important ones---now that I have a cool, quiet living space w/digital piano, etc.:
I want to be a complete composer. I've cobbled it together by the seat of my pants thus far (though I've studied with some of the best here and there through the years) and have done OK. I get my sound and effect, but there's so much I don't know. Knowledge is a life-long quest, or ought to be. I need to study orchestration, score reading, counterpoint starting from species, know the classical literature. Then there's jazz and pop composition studies. A lot of music going back to the 30s fascinates me: Don Redman---he was writing whole-tone based pieces like Chant of the Weed. I played that tune with the George Kelly Octet in '84---now it's time to analyze it. Or Nat Leslie's Radio Rhythm---also recorded by Fletcher Henderson. It keeps moving like a herd with a shepard pushing. The 30s were a time jazz arrangers and composers through-composed. The bebop writers were more into shorter forms. This fascinates me, too. Then modern people: Thad; Brookmeyer; Ernie Wilkins; early Quincy---when he actually wrote.
Then the popular music arrangers---jazz and classical influenced, of course: Riddle; Jenkins. Film composers: Tiomkin; Newman; Herrmann, etc. Today Alan Broadbent is a master.
It's not just writing the tune, it's knowing all of the above. Gotta get off my lazy ass. (A friend across the pond has a pretty successful nonet and wants me to contribute to their book. Don't want to cop out, or not do his group justice).
And now for something completely different (non-European): Rhythm---African-based and derived. Polyrhythms, as played in Caribbean nations where the slave owners let slaves keep the drums. American musical culture is mono-rhythmic, largely b/c the slavemasters took the drums away (except, according to John Birks Gillespie, for Sea Islamd, GA---where the overseers cut the slaves more slack). I feel rhythm is my weakness. I can swing OK, but there's still fear of getting lost---losing form in drum solos, coming in wrong---after all these years! I think piling in, learning the forms, sitting down at the set with a teacher and having him kick my ass and straighten me out, playing and writing in a way that reflects that----and listening, listening, listening (and did I mention listening?) are the ways.
I'm done...
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Originally Posted by fep
Humiliating Confession
Yesterday, 01:31 PM in Guitar, Amps & Gizmos