The Jazz Guitar Chord Dictionary
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  1. #76

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    Quote Originally Posted by padraig
    I think it already is the "classical music" of the future, that's why I like this stuff and want to know more about it. I just find it mad that there's no easier way of understanding a piece other than it changes key every few bars. That seems a very inefficient way of writing, almost like there is no key at all, it just goes where it wants.

    Or maybe there's a different way to understand it, like it's in one key but the harmony isn't diatonic or summat. I dunno.
    The song is modulating but the key center doesn’t move. All the things you are doesn’t change key signatures. We move through “keys of the moment” knowing that the song will shift back to its home key.

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  3. #77

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    I love how the A section returns, a fourth lower. Are there any other GASB tunes that do that?

  4. #78

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    An interesting thread, the GASB is a great source for Jazz players, although we might
    love BeBop, not all listeners are avid fans of it. but the Standards of which we speak
    are familiar to most listeners with a good ear.
    Having accumulated a large number of Real Books etc., I have a plethora of tunes to
    choose from, most of which were great vocal songs but are ideal for players to improvise
    upon eg., " I'm Glad There is You", The Folks who live on the Hill" ,My Foolish Heart"
    "Speak Low", "Spring is Here" "Violets for your Furs" etc., almost ad infinitum
    If they are unfamiliar to you , I suggest that you listen to some on YT if bored with
    churning out the same old hacks.
    just my 2p
    Last edited by silverfoxx; 05-28-2019 at 07:45 PM.

  5. #79

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    If the key actually changes, it will be indicated in the score. There are tunes which actually change keys, and that is specifically written. But ATTYA doesn't actually change keys, it just seems to, although the key signature never changes. It's convenient to think of it as changing keys for soloing, but it stays in Ab for the entire song. And it doesn't go where it wants, it goes where Kern intended it to go. He had a plan and he executed it perfectly.

  6. #80

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    Quote Originally Posted by padraig
    Explain...?
    Songs are free to modulate into keys of the moment knowing that the song will resolve back to its original key center. We don’t change the key signature within the sheet music every time this happens as it would be too difficult to keep track of. We treat these modulations with accidentals.
    For the tune Blue Moon in the key of Eb the B section modulates through three key centers. Eb, Gb and Bb before returning to its original key. The modulations give the sense the bridge is traveling to new places outside of the range of the A sections. We don’t, however, mark each of those short modulations with a new key signature in the sheet music as that would be too distracting to the reader. We use accidentals instead knowing that these short “keys of the moment” will resolve back to the original key center.

  7. #81

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    There's no law that says a song almost everyone would say is clearly in Bb major can't be scored with a key signature of Ab major, or A major... you'd just have a wonky score, hard to read, full of accidentals.

    From one perspective, the key is the key signature, whatever that might be on paper. From another perspective the key is really what almost everyone above says, and the score is wonky.

    But those are extreme cases; in actual practice it is parts of the song that deviate. It might be that the turnaround goes from the tonic major chord to the two chord being a thirteenth, before it goes "back into key" by changing to minor. Or there might be a longer section that deviates from harmonization.

    A single chord of the progression moving out of key for a second or two does not invoke a key change, and probably does not merit being considered as a key center shift or a re-assignment of "local key" or whatever... but a longer section might be thought of as having temporarily "moved".

    People have varying degrees to which they can bear a deviation or departure from the original key before they begin having trouble maintaining connection back to the key and begin to want to grasp where they are more clearly within the new context of it being a new moved key from the original key.

  8. #82

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    Quote Originally Posted by padraig
    Coming from a classical background this just doesn't add up to me. I'm used to pieces that stay in the same key for whole movements and several pages of music.
    Have you listened to Debussy? I don‘t pretend to be an expert but IMHO he is a master of avoiding the home key. This precedes ATTYA by half a century. I think you have that a lot in the second half of the 19th century, which is the music that the GASB composers were trained on.

    A little off topic:

    Much contemporary classical music doesn‘t really have one tonal center, although it is not atonal. I‘m thinking of Bernstein‘s Chichester Psalms which we are rehearsing at the moment. I sung a passage from John Rutter that moved to Ab minor (!) for some bars and then to A minor.


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