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Originally Posted by lawson-stone
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04-14-2021 02:11 AM
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Originally Posted by lawson-stone
I know how hard it is to do those, I tend to be wary of trying them on a video because they make me nervous, I always fear a train-wreck!
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Originally Posted by grahambop
The only thing about my line playing in this clip that I was really excited about was learning I could play a Gm Pentatonic over a C7 in the blues sections, like in the first 4 measures of the solo. It seemed to sound more like Wes to do that.
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Originally Posted by lawson-stone
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Lawson, got to listen.
Lots of good stuff there. Good lines, the chord soloing was quite good and really fun...the only recommendation I could make is to actively work on your time...which I get, is REALLY tough with a track...
I'm really not sure what the best way to work on time feel is, when in isolation, so to speak. Seriously, maybe drumgenius, and playing one note, or a head you can play in your sleep, and focusing first on totally locking in to the beat, then on laying back a little, and recording the results.
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Originally Posted by lawson-stone
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Originally Posted by grahambop
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Yes I didn’t like any of the online tracks, so I opened up my old BIAB song for this tune (which I probably created ages ago) and saw I had set up the chords as Gm, C7, Gm, C7 for the first 4 bars, and so on.
It sounded ok, so I used that for my video.
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Originally Posted by lawson-stone;[URL="tel:1114266"
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Originally Posted by mr. beaumont
John
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Originally Posted by John A.
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Originally Posted by mr. beaumont
John
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Originally Posted by mr. beaumont
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Originally Posted by wzpgsr
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Originally Posted by mr. beaumont
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Originally Posted by wzpgsr
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Originally Posted by wzpgsrOriginally Posted by grahambop
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Originally Posted by Triple_Jazz
It actually encourages me to hear some on this forum talk about how hard chord-soloing is in improvisation, because it's the one thing that for me seems to come more naturally.
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Originally Posted by wzpgsr
Anyway, I just listened again pretty closely to the recording, and there's no GmM7 there. Neither Wes nor anyone else in the band plays an F# (at least not that I can hear), and the bass is very definitely playing in C blues (not Gmin). But what Wes does somewhat confuses things. He plays two figures: G A Bb (call) and then F E (response). The call is the melody. The response is actually not the melody (though you may be be thinking of it as melody). Rather, it's Wes playing the piano harmony from the Cannonball version on the guitar in response to his own call, making it seem like one part in Gmin instead of two separate parts in C7. On the original, it's much more distinctly two parts -- the sax and trumpet hold the Bb while the piano plays the "response". If you focus on Wes and tune out the bass and the piano (which is also very definitely playing C7, C9, and C13), you hear Gmin, and interpolate the "minor line cliche". It actually sounds cool, but it's not what Wes plays.
JohnLast edited by John A.; 04-14-2021 at 05:04 PM.
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Originally Posted by John A.
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Originally Posted by lawson-stone
JohnLast edited by John A.; 04-14-2021 at 06:37 PM.
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Originally Posted by John A.
This thread is about Unit 7 but I thought I was in the In Your Own Sweet Way thread, which is where I hear GmM7.
But I think I know the dissonance you’re talking about in my Unit 7 take, though—during the head, right at the beginning? I stole that straight from Bobby Broom on his album The Way I Play. He plays the first A section straight, but then throws in those dissonant notes on subsequent repeats.
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Originally Posted by John A.
One thing I puzzle over with Wes Montgomery. He plays the blues, but it's amazingly free of cliches. He plays bop, but doesn't sound like a Charlie Parker-on-Guitar clone. It's always kinds of surprising but not weird. This Gm Pentatonic over C7 in a blues has that Wes feel that I've been hunting for. Likewise, playing the Cm over the F7 does the harmonic shift but continues the different feel. Maybe it's just a matter of playing the same set of notes but with a different starting tones and off-center emphasis notes!
I'm so far out of my depth here... I went nuts about 20 years ago studying chord-scale theory but couldn't play anything, so for 15 years or so I've basically just played and not thought too much about the theory, so this is straining my brain.
I'm heading for something simpler, like a Middle Egyptian Hieroglyphic inscription...
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Originally Posted by lawson-stone
I misunderstood wzpgsr, and thought he was talking about playing a GminMaj7 (and by implication, G melodic minor) on that C7 change. But strangely, he wasn't talking about doing that (he was talking about IYOSW), but he was actually playing it, which sparked my little trip down theory alley. Anyway, that's as far down that path I go.
Originally Posted by lawson-stone
Originally Posted by lawson-stone
Originally Posted by lawson-stone
John
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Originally Posted by wzpgsr
John
Soul Serenade
Today, 05:23 PM in The Songs