-
The poll winner for Feb. is "Come Rain Or Come Shine and below you will find a backing Track and a PDF lead sheet included for download. The backing track is BIAB jazz ballad style with a 4-bar introduction, a 2-bar ending and 3 choruses. Enjoy!!
wiz
Box ----> PDF lead sheet
https://www.box.com/s/pzg7anz82vzd0vpqzffc ----> backing track.Last edited by wizard3739; 02-06-2013 at 02:07 PM.
-
02-06-2013 01:43 PM
-
Great ballad, here
with Bucky Pizzarelli and Zoot Sims. I posted this one because there is only sax and guitar, and the guitar part is all in one side so you can hear how to comp with a soloist..
Enjoy..
Tom..Last edited by oilywrag; 02-06-2013 at 02:39 PM.
-
beautiful solo Tom! nice guitar from Bucky, too.
wiz
-
And Buddy Rich on drums...
how sweet....
days gone but not forgotten...
time on the instrument
-
It's a tune I never liked much...I don't know why really...always sounded sort of "forced bluesy" or something when delivered by most singers...the melody also has some leaps I don't dig...
I appreciate it a bit more now...harmonically there's some cool stuff happening...I always look for chromatics, so I made the beginning line an Fmaj7 to an Em9 to an Eb9#11 thing...I think I try something like that later, thinking of a few of the half diminished chords as minor 6'a up a m3....
As far as improvising, this tunes chords seem to give most of the info I need...there's a few altered Dom sounds where I played some altered scale stuff, and there's plenty of spots on D minor sounds in e tune where the blues scale is a great sound.
im not going to say I love this one, as I can still picture a teenage girl straining her way through it in a fake rough voice, but I will add it to my rep...I think there's more places to take these chords still...
-
Hey, Jeff. You're really good. You can make an arrangement and you can improvise. I guess this "read through" wasn't your first attempt at this, or was it? You're reading PDF provided by Wiz, right?
Hold your breath, questions will keep coming in this post.
I stil sruggle reading that basic single line melody, but I really want o read it, not to learn it and play it from memory. i'm very bad at reading music. Also, half the chords I 'll have to figure out the grips, and you're changing and at will with ease. Hopefully, some day ...
If you'd please, what exactly do you play at bar 2 (or 6, if we count the intro), chords above are written as E-11 A7? Guess that's what you refer to as "Em9 to an Eb9#11"?
Sound' like x7x775 x6x665, but ther's no A(5 on 1st) in em9?
If you played as written, how would you play E-11 A7?
Thank you.Last edited by Vladan; 02-17-2013 at 08:42 PM.
-
Vladan, I was wrong on that chord, it was an Em11 with the A on top...the Eb9#11 is an A7alt tritone sub...I used a chart in an old fakebook I have, but I changed a lot as I went...I never play as written unless the situation really calls for it. Chord names are a suggestion only.I would probably never play an A7 after any kind of Em chord, that says ii V to me and I want tension on the V.
I don't think my reading is too great, but I do know my chords and I can identify a single note line pretty well...But also, I've played this song before but not as a solo arrangement...so I wasn't completely unfamiliar with the tune.
Chords are something I've spent a lot of time on. They've taught me more than any book, video, whatever...they're the code to crack...I look for new ways to grab chords all the time.
-
Here are my takes: Like Jeff, I never liked this tune much, and never bothered to learn it, but I like the exercise of learning one new tune a month, so I spent an hour trying to internalize the chords, then recorded these two takes... (excuse the sloppiness/dropped beats, I'll probably remove these before too long.)
A solo chord-melody
SoundClick artist: Paul Kirk - page with MP3 music downloads
and single note/backing myself in 5.
SoundClick artist: Paul Kirk - page with MP3 music downloads
-
Originally Posted by oilywrag
Thank you for that! I just ordered the album from which I believe it came:
Zoot Sims, Bucky Pizzarelli, Buddy Rich, Milt Hinton - not the sort of ensemble you run across every day.
-
I was not looking for mistakes, I just wondered is it some kind of Jazz nomenclature, to play e(m)9, play a chord over some melody, and not to mention melody note in the chord. Originally Posted by mr. beaumont
I thought I was good in chords, before turned into jazz stuff. In tunes I'm used to play, I always have enough time to think: "13, ah same as six, if I grab it like that, pinky goes there, if I grab it like that, it's easier, but may be to high, ...,"
and to come in time with decision. This is completely different territory.
Back to questions.
When I play melody as written in Wiz's ,pdf, over his BIAB mp3, I have at least 2 "ear" problems.
1. Eb note over am7b5 and Adim. I don't know why. Both chords have the note, for 5th(b), but somehow it sounds nasty to me. Maybe guitar is out of tune, but tuner says it is not.
2. D note over am7, 8th row. You may say my ears are not developed enough, but I have to force my self to play it.
I think it's because It goes for too long. I have no problem with D over am7 as a short first note of Fever, coming after imaginary, ommited, first note (would be A, or C).
What am I to do?Last edited by Vladan; 02-18-2013 at 07:41 AM.
-
Hey Vladan- My guess is that its the forced "blue notes" that are bothering you.
for 1: You mean bar14-15 (of the form)? probably after the Bm7b5 E7b9 your ear expected an Ami7
rather than Am7b5, I hear that Eb as a "blue note", maybe try bending down from an E to an Eb?
(or bending the Eb up to an E) and leave out the b5 in the harmony?
for2: play D7 for those two bars until you hear it, then add the Ami7 in the first to set up a little tension/resolution there. It's fairly common (As you surely know) to replace a dominant V chord with the II-V, so when the melody is the root of the V, you'll get an IIm11. Try a Eb7#11 there instead. Also The A7 in the preceding bar sets up the Am7: focus on the 3rd (C# to C): that "major3 to minor3" change is also a blues thing.
-
Thank you pkirk,
I think I've nailed my problem, but first ...
For 1. yes, that's the place. And yes, in my mind I heard it bent, but it did not help in reality, but I'll try again. Maybe I was tired, or something. And of course, I could not remove it from the harmony, since harmony is already recorded.
This begs a question, what would be reaction of average listener who's ears are even less developed than mine, or we count on they don't hear anything anyway?
For 2, Seams I have a problem with 11 in minor chord, unless it's the top note. If I play melody octave higher, the problem is gone. I played that D on 3rd 7th fret. On 1st 10th fret it sounds quite OK.
Similar it was with em11 in 2nd bar. If I was playing it as 7th fret on 4th string, but then I saw Mr. Beaumont playing that A on the top, and it was OK.
So conclusion (hit on the nail on my finger) is, I disregarded the fact that in order for guitar to sound "as written", I should play an octave higher. That's what you get when your reading is really bad.
Maybe it will help for 1. too. I'll give it a try when I get to the guitar, later today.Last edited by Vladan; 02-18-2013 at 10:41 AM.
-
No problem, I didn't think you were trying to point out mistakes... Originally Posted by Vladan
The thing is, I don't really think about "as written," or full complex chord names with all extensions...I think pretty much major, minor, dominant, half-diminished...anything else is just melody on top of the chord...
Certain chords are triggers for me as far as improvisation goes...certain extensions call for certain things...so I might call a lot of dominants just plain "alt" meaning if I'm playing a 9 or a 5 it's going to be altered, but a chord like a 7#11 is a little more specific and if the chart bothered to write it I'm assuming that sound is wanted, or at the very least that the melody note is the #11...when improvising then, I might think about Lydian Dominant or grabbing the chord notes that give me that sound...
-
OK, this will be my input for this month. It may sound strange to some of you, I have tried some new things (for me) on this one. I tried some octave phrases (not too good at these), and messed around with the time a la Jimmy Raney thoughts. I tried to use some of the material from the "Line Games" book and basically played by ear on this one. I used only BIAB bass and drums to get a trio sound without any chords. I'm still not playing chords very well (left hand is still healing).
wiz
https://www.box.com/s/kg59wwzpw0x2kfxtzavptLast edited by wizard3739; 02-19-2013 at 02:42 AM.
-
Wiz: nice and relaxed, super tone, and you refer to the melody a few times to keep it grounded. I felt like I wanted you to address the dominant chords a bit more, sit on those thirds and altered tones to build a little melodic tension every now and then.
-
Thanks Pkirk, this one was hard for me. I appreciate your helpful comments.
-
Back to questions.
[/QUOTE]
When I play melody as written in Wiz's ,pdf, over his BIAB mp3, I have at least 2 "ear" problems.
What am I to do?[/QUOTE]
Please bear in mind most musicians consider lead sheets to be, at best, guidelines to use as a starting place for your analysis and playing of the song. There are many other interpretations of all songs, the chords and melodies on the lead sheets I arrange for the forum backing tracks are in that category. IMHO, the best way to solve your "ear" problems is to listen and transpose the tunes you may have a problem with. This approach "goes with the territory", especially when learning about jazz.
wizLast edited by wizard3739; 02-19-2013 at 09:26 PM.
-
....
Hey Mr B, nice playin, I recognize your playing... very nice
Paul...dig the modal harmonic like approaches, target tonality, way cool. I personally dig all the anticipations... sometimes having sectional... or target contrast, non-anticipation rhythmic feel... gives the style more effect. Personally I dig style and your playing . I though the duo version was going into Donna lee for a second at start... nice playing.
Wiz... as always great playing. Great swinin blue groove feel, very Basie like. Great use of melody... maybe develop the Blues harmony of melody... cool way to create melodic relationships and still be tied to melody or transition to something different, Not needed, solo was already cool...
I have a BS gig today but have night off... I'll make a playing analysis of tune and try and talk/play about possible approaches tonight.
Reg
-
Thanks Reg. Maybe you could expand on "sectional... or target contrast, non-anticipation rhythmic feel". I think you are politely telling me to try to include more of this (or maybe less?), and I'd love to, if I knew what you meant!. I know that I sometimes throw in too many "sweep"-type licks which get to their target before the beat does ( there's the old maj7 arpeggio I overuse because it sits so easily on the fretboard.) Originally Posted by Reg
Anyway looking forward to your analysis.
-
Originally Posted by wizard3739
Nice clean tone and very tasteful.
Guy
-
I've tried to update the original song, by changing the chords and shortening the melody to 16bars:
Chords:
| FMaj9 | Em9 A7#5 | Dm9 | Dm9 |
| FMaj9 | Em9 A7#5 | Dm9 | Dm9 |
| Fsus7 | BbMaj9 | Fsus7 | BbMaj9 |
| Amin9 | Abmin9 | Gmin9 | Gmin9 |
Basically, I'm using F Major Modes or just F Major for the bars 1-4 and 5-8.
I use F Mixolydian on bars 9-12, trying to put an emphasis on the Bb note.
Bars 13-16 I play just minor arps.Last edited by Dirk; 01-11-2019 at 04:04 PM.
-
Hey Paul... Comments are not a dish in any way. Strictly talking about the rhythmic feel. Which, like I said, I dig. If you listen to the majority of your attack locations... generally they are on the up beat, more specifically they're anticipations. ( there is a difference between 1 + as compared to + 2) There are up beats on 16th notes as well as whole notes. I didn't chart it out... and will listen again to try and better describe. Originally Posted by pkirk
By sectional or target I'm referring to have organized locations of usage...Example could be make 1st two bars syncopated then relax bars 3 and 4... or what ever organized pattern you like. Totally not required... but when used, sometimes helps create more contrast between sections. Can also draw more attention to a rhythmic feel... Somewhat a very mechanical method to help create another level of interest for a performance. The organized usage doesn't really need to be in relationship with melodic or harmonic content, but can. Just for the record...All my licks are overused. Again nice playing...
Hey Guy... always cool arrangements...
-
Thanks Reg, I always enjoy and appreciate your comments. Good idea to try to develop the Blues harmony of melody... Originally Posted by Reg
wiz
-
Hey All... here is a playing... somewhat playing example of CROCS. This is not a showcase... it's very rough but you can easily hear the approach... blues, that I tried to use. I apologize for not rehearsing...
The tune goes between F and relative min.... D-. The IV- chord is usually from parallel Minor, F-. I tried to use the dom 7th as target V7's as compared to V of something. In the style of jazz/blues harmonic style. Tried to keep harmonically very straight and heavy swing feel... way behind the beat. Should have used drum machine. I'm lazy.
The #IV-7b5 could be part of II V of III, and could also be sub of II7... both approaches are cool. When used as sub of II7 or G7, becomes a I VI II V, (G7 E7 A- D7), both are very blue...
-
Good one for good morning (itwas 0830 here, when I started listening).
Now I have to rethink if to post what I've recorded .
(Audio is already finished, for couple of days, it'll go with my POV driving video for February,
which is still not finished, but in a day, or two ...)
Firstly, because this what Reg did is way better than what I've done.
Secondly, because I used one, or two of presented ideas, so can not claim originality to compensate for skill.
Time to say - D'oh
Reply With Quote
mclaughlin sound here
Today, 12:26 AM in The Players