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  1. #26

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    Quote Originally Posted by Triple_Jazz
    I think I like this second take better
    That was quite fleet fingered, TJ!
    Thanks for that info, Don Esteban!
    Sounds good, Peterson - I will try that Dmajor idea.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    The tune can be played as though the dom7 chords are the V of their respective Andalusian cadences. You get the Phrygian sound over the doms.

    The G - F#7 is the VI - V of Bm - A - G - F#7 so you can play D maj over it (like playing C maj over Am -G - F - E).

    After that you have Em - A7 - D - G which is also D major.

    Then you have C#7, which is A maj. Then F#7 - Bm which is D again.

    Then B7 uses G maj which takes you back very neatly to the GM7.

    So the whole thing is

    D - % - % - %
    D - % - % - %

    D - % - % - %
    A - % - D - %
    D - % - G - %

    It's quite nice, very pure, and it works, but it's not boppy of course.


  4. #28

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    Don -

    That info was correct but don't you think there's a bit of arty-farty nonsense going on? I mean, I really adore Beethoven, possibly the greatest composer of all... so I've written this loud, vulgar hip-hop number just to show how much I admire him :-)

  5. #29

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    Quote Originally Posted by ragman1
    I've written this loud, vulgar hip-hop number just to show how much I admire him :-)
    Can we have a listen? That'll be a hip hop ballad I reckon?

  6. #30

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    I know, they're all ballads :-)

  7. #31

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    Quote Originally Posted by ragman1
    Don -

    I mean, I really adore Beethoven, possibly the greatest composer of all... so I've written this loud, vulgar hip-hop number just to show how much I admire him :-)
    Hahaha, why not, if you use the Ninth as a longer intro and also derive your melody in quotes from "Freude schöner Götterfunken" nothing stands in the way?




    BTW:

  8. #32

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    Quote Originally Posted by ragman1
    Don -

    That info was correct but don't you think there's a bit of arty-farty nonsense going on? I mean, I really adore Beethoven, possibly the greatest composer of all... so I've written this loud, vulgar hip-hop number just to show how much I admire him :-)
    I should think such an approach is almost mandatory these days, especially if you hope to secure arts body funding for the project.

    Writing a symphony would be the worst possible thing you could do.

  9. #33

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    Quote Originally Posted by TOMMO;[URL="tel:1136136"
    1136136[/URL]]That was quite fleet fingered, TJ!
    Some of the posters here have the right execution of notes but not the nimble dexterity of fingers. I unfortunately have the fleet fingers with no where to run to

  10. #34

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    Quote Originally Posted by DonEsteban
    Hahaha, why not, if you use the Ninth as a longer intro and also derive your melody in quotes from "Freude schöner Götterfunken" nothing stands in the way?




    BTW:
    Oh, he's a grimacer... :-)

  11. #35

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    Quote Originally Posted by Triple_Jazz
    I unfortunately have the fleet fingers with no where to run to
    I resemble that description: I can play pretty fast lines if I have them ingrained in my muscle memory but when improvising I still can't think fast enough to connect the dots properly...

  12. #36

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    Quote Originally Posted by ragman1
    but it's not boppy of course.
    Challange accepted!

  13. #37

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  14. #38

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    Here we go ...



    "fast" playing at the edge of disaster in honor of Jeff's b'day.


    Editorial note: Ok, the head is actually fun to do with other live human beings, but with a backing track, no way Jose.
    Last edited by John A.; 07-25-2021 at 12:14 AM.

  15. #39

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    John -

    Exquisite :-)

  16. #40

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    Hey John... that was fun, thanks. I've been out of town... Spain is really a difficult tune... even if you stay really harmonically vanilla and use vanilla backing tracts...It's just a burnin tune. I made this comping vid years ago for this forum. Maybe it will help... maybe not....

    Just for fun... I was back at Berklee back in 74 when AD took over when Bill Connors left RTF. Maybe it was 73... I can't remember.... but Spain was already in the fake books.... Al had recently got back from run with Barry Miles Quartet, he took over gig from Pat Martino and John Abercrombie .Barry Miles was one of the early fusion bands. I also posted vid


    Barry Miles - White Heat 1971 - 04 Descent - YouTube

  17. #41

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    Quote Originally Posted by Reg
    Hey John... that was fun, thanks. I've been out of town... Spain is really a difficult tune... even if you stay really harmonically vanilla and use vanilla backing tracts...It's just a burnin tune. I made this comping vid years ago for this forum. Maybe it will help... maybe not....

    Just for fun... I was back at Berklee back in 74 when AD took over when Bill Connors left RTF. Maybe it was 73... I can't remember.... but Spain was already in the fake books.... Al had recently got back from run with Barry Miles Quartet, he took over gig from Pat Martino and John Abercrombie .Barry Miles was one of the early fusion bands. I also posted vid


    Barry Miles - White Heat 1971 - 04 Descent - YouTube
    Hah, that Barry Miles cut is insane! White Heat, indeed. Cool comping ideas.

  18. #42

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    Quote Originally Posted by Reg
    Hey John... that was fun, thanks. I've been out of town... Spain is really a difficult tune... even if you stay really harmonically vanilla and use vanilla backing tracts...It's just a burnin tune. I made this comping vid years ago for this forum. Maybe it will help... maybe not....

    Just for fun... I was back at Berklee back in 74 when AD took over when Bill Connors left RTF. Maybe it was 73... I can't remember.... but Spain was already in the fake books.... Al had recently got back from run with Barry Miles Quartet, he took over gig from Pat Martino and John Abercrombie .Barry Miles was one of the early fusion bands. I also posted vid


    Barry Miles - White Heat 1971 - 04 Descent - YouTube
    Great stuff Reg.
    Barry Miles 1971 with Pat...wow!
    Thanks for great ideas!
    Jazzingly
    Kris

  19. #43

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    2019.

  20. #44

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    Quote Originally Posted by John A.
    Editorial note: Ok, the head is actually fun to do with other live human beings, but with a backing track, no way Jose.
    yeah the head is a tricky bugger, especially that ‘handclaps’ bit, I would like to include it but it’s taking a lot of practice!

    Still the weather is dreadful here today, so at least I haven’t got much else to do.

  21. #45

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    Quote Originally Posted by grahambop
    yeah the head is a tricky bugger, especially that ‘handclaps’ bit, I would like to include it but it’s taking a lot of practice!

    Still the weather is dreadful here today, so at least I haven’t got much else to do.
    Dreadful by English standards? Zoiks! I don't find the individual elements of the head all that difficult, but I can never keep straight which part to play when/how many times. And really the thrill of it is getting through it together with others, so just shedding to play with a backing track is way too scholastic for me.
    Last edited by John A.; 07-25-2021 at 02:56 PM.

  22. #46

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    So the tune is... (the Form)

    Intro.... 11 rubato bars

    "A" 18 bars ( 6 + 12 )

    "B" 13 bars 1st time through ( 9 + 4 )
    2nd time with 2nd ending, ( 9 + 2)

    "C" 24 bars then DS to last 8 bars of "A" and take 2nd ending to "C" for solos

    It's just not that easy.... with chart can be easier. The chart in Real Book IV and the Real latin Book...is a little weak....but does fit on one page. I made a chart from Light as a Feather back at berklee. I worked in ensemble office. Transcribed tunes and helped put together BB books.

  23. #47

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    Nice takes y'all!

    Rag, I think at the tempo you take it, you see how logical the chord progression actually is. The only "odd" bit is that its circular, meaning we don't get real resolution at the end of it...

    Triple, nice to see you going full bore tempo. Sounding good, great articulation.

    Rp, I dig the slow fusion burn of your take. It IS a pretty chord progression, and your tale proves it.

    Peterson, proof you can do a lot with the major scale. Gjitelele was a fun idea. Great to have you aboard.

    John that was Hella fun. Great "go for it" attitude. I like the repeated ascending figure you get into about halfway through, great tension builder...

    Need to go back and make sure I didn't miss anybody...

    Oh, and here's my go at it, with my new guitar. I was actually going to go electric, but my cable crapped out on me and I didn't feel like going downstairs to look for another. Told yall I was lazy.


  24. #48

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    So I just had to grab my Flamenca for this one and put a cejilla on the second fret - this is what came out. First take, in true jam fashion. Oh, I had played the tune before.


  25. #49

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    Quote Originally Posted by John A.
    Here we go ...



    "fast" playing at the edge of disaster in honor of Jeff's b'day.


    Editorial note: Ok, the head is actually fun to do with other live human beings, but with a backing track, no way Jose.
    Tone is great and I love the passion in your playing.

  26. #50

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    Quote Originally Posted by Reg
    Hey John... that was fun, thanks. I've been out of town... Spain is really a difficult tune... even if you stay really harmonically vanilla and use vanilla backing tracts...It's just a burnin tune. I made this comping vid years ago for this forum. Maybe it will help... maybe not....

    Just for fun... I was back at Berklee back in 74 when AD took over when Bill Connors left RTF. Maybe it was 73... I can't remember.... but Spain was already in the fake books.... Al had recently got back from run with Barry Miles Quartet, he took over gig from Pat Martino and John Abercrombie .Barry Miles was one of the early fusion bands. I also posted vid


    Barry Miles - White Heat 1971 - 04 Descent - YouTube
    I spent some time with this video and felt, afterward, that I just had a great guitar lesson. Use of alterations to supercharge the comping in the second chorus and the time feel.