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  1. #151

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    I wanted to bring closure to this thread at least for me. After several weeks of focusing on this tune, I have lots of ideas, I feel like I've grown a lot musically, thanks to the contributors to this thread. This is my last clip for now on this. Funny, I've jammed on this tune for long periods and had lots of great moments, but when i sat down today to do a "One Take Only" clip, I feel like it's a little flat. Maybe I've been on it too long?

    I also know I enjoy playing the melody more than I do improvising over the tune. Just a lovely, simple, but subtle melody that I enjoy playing.

    Thanks to all of you for taking this little hike with me.


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    The Jazz Guitar Chord Dictionary
     
  3. #152

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    Thanks for sharing your musical journey with us, Lawson. Your outstanding enthusiasm and example are an inspiration to many of us, myself included. Again, my thanks!

  4. #153

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    Quote Originally Posted by lawson-stone
    I wanted to bring closure to this thread at least for me. After several weeks of focusing on this tune, I have lots of ideas, I feel like I've grown a lot musically, thanks to the contributors to this thread. This is my last clip for now on this. Funny, I've jammed on this tune for long periods and had lots of great moments, but when i sat down today to do a "One Take Only" clip, I feel like it's a little flat. Maybe I've been on it too long?

    I also know I enjoy playing the melody more than I do improvising over the tune. Just a lovely, simple, but subtle melody that I enjoy playing.

    Thanks to all of you for taking this little hike with me.

    Nice job! I really liked how you put moving voices into the melody. Guitar tone sounded terrific. Well done!

  5. #154

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    Quote Originally Posted by rpjazzguitar
    Nice job! I really liked how you put moving voices into the melody. Guitar tone sounded terrific. Well done!
    Many thanks. I still play these really basic ideas but after living with the tune I feel like the ideas are “mine” and not just rote.


    Sent from my iPad using Tapatalk

  6. #155

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    Quote Originally Posted by lawson-stone
    I wanted to bring closure to this thread at least for me. After several weeks of focusing on this tune, I have lots of ideas, I feel like I've grown a lot musically, thanks to the contributors to this thread. This is my last clip for now on this. Funny, I've jammed on this tune for long periods and had lots of great moments, but when i sat down today to do a "One Take Only" clip, I feel like it's a little flat. Maybe I've been on it too long?

    I also know I enjoy playing the melody more than I do improvising over the tune. Just a lovely, simple, but subtle melody that I enjoy playing.

    Thanks to all of you for taking this little hike with me.

    Sounds really good, Lawson.

    John

  7. #156

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    I've been playing that song for years. It's a great tune, and I have found a few ways to think about it. You are right that it is different than many jazz tunes.

    OK so here goes, using your chart

    Lately, I find myself out gazing at stars
    Eb Eb/D Cm7 Cm7 /Bb F7/A Bb7/Ab Gm7 C7


    So that is in Eb major. The F7/A arrives which means that we are in Bb for two beats. That is a modulation down a 4th. That means we lose the last flat in the key signature, so the Ab becomes and A. So that means that all we have to think is that we had 3 flats, now we have two. Then the Bb7/Ab arrives and we have modulated back to Eb. Then a 2/5 in F So we have modulated down a whole step. When you modulate down a whole step there is no simple transition, so this is an abrupt change with lots of new notes in the harmony.

    When you shifted momentarily down a forth, only one note changed, so you can play with melodies that use that. But now when shifting down a whole step, it is a jump. You pick up and start a new phrase in F right there. They don't really connect.



    Hearing guitars like someone in love
    Fm7 Bb7 EbM7 Bb7 Eb7

    So that is Eb, the modulating to Ab which is UP a forth. So that means we add one flat. The D becomes a Db in the new key.
    Since that is a smooth transition, the melody lines can connect and you try to be at the D to Db when you get to the transition. It takes some 'planning ahead' that comes
    with experience to be there at the right time.Then your melodies will spell the changes.


    Sometimes the things I do astound me
    Ab Dm7 G7 CM7

    So that is in Ab, then modulating to C. That is a jump of a major third up. Jumps in a major third sound like a big jump. So you pickup and move right to C on the beat and start a new a different kind of phrase. Not necessarily connected at all to highlight the jump.

    Mostly whenever you're around me
    Cm7 F7 Fm7 Bb7#5

    So that is a change to Bb from C. So a move down a whole step. Then a modulation up a forth to Eb to start the tune over again.

    So we are just moving the tonal centers by fourths and whole steps and by a major third.

    I like to learn songs as transitions from tonal centers. That way you learn the tune in any key.

    So I am thinking about if I want the melody improv line to connect smoothly, or do I want it to sound like a jump. You can mix it up and do it different ways. Find a way to connect across the jump smoothly. Then next time make it a lump. I am aware of what the 'new' notes are and what the transition notes are of the change in tonal center.

    Lately I seem to walk as though I had wings
    Bump into things like someone in love
    Each time I look at you
    I'm limp as a glove
    And feeling like someone in love

  8. #157

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    Lovely waltz style version by Andrei Ryabov Trio ('It's easy to remember...' is the LP title)