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  1. #51

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    This is my first attempt for this one. It is kind of a blue approach, very different for me and hard for me to do. I hope I have time to try again with a different approach. Maybe a Latin sound?

    wiz (Howie)

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    The Jazz Guitar Chord Dictionary
     
  3. #52

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    Quote Originally Posted by wizard3739
    This is my first attempt for this one. It is kind of a blue approach, very different for me and hard for me to do. I hope I have time to try again with a different approach. Maybe a Latin sound?

    wiz (Howie)

    Box | Simple Online Collaboration: Online File Storage, FTP Replacement, Team Workspaces

    Sounds pretty good to me. The track has an off kilter thing that does not work on this tune, during the melody. It seems to throw you off a bit.

  4. #53

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    Quote Originally Posted by ragman1
    Thanks for your comments. Are you saying that in 5/4 the best beats to emphasise are 4 and 5? And maybe 1. I guess that makes sense, there is a rhythm there: | 1 - - 4 5 | 1 - - 4 5 |.

    Maybe it's a lack of familiarity but I do find it very difficult to get into the groove without trotting out 'patterns' to cover the 5/4 rhythm. 4/4 is no problem and one can let it flow, but this defies the inner foot-tapper.

    I don't suppose anyone can suggest a good example of soloing over 5/4? Not piano, probably, something with single notes like sax or trumpet so I can hear it.

    (In the most obvious example, the original recording of Take Five, there's almost no improv, just the well-known vamp, the tune, and lots of drumming).
    The best solution I have found to learning to playing in odd time is to play in odd time a lot.

    One challenging aspect is being able to play polyrhythms over the top. While a quarter triplet fits twice into a bar of four, it fits 2 1/2 times. In order to come full cycle back to the one playing quarter triplets you have to play 10 beats, or two bars....

    Anyway I find it quite useful to practice these sorts of things to gain a little more freedom rhythmically in odd meters.

    Lastly, odd meter phrasing sounds very cool on 4, so you can reverse it around for all those times when you aren't playing in PI/8.

  5. #54

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    First of all, forget I asked for examples, I've found plenty and edited the original post. Sorry for asking. There's always Cerro Blanco, of course!

    Quote Originally Posted by christianm77
    The best solution I have found to learning to playing in odd time is to play in odd time a lot
    That's what I rather suspected :-)
    Last edited by ragman1; 02-12-2017 at 09:07 PM.

  6. #55
    Quote Originally Posted by ragman1
    Thanks for your comments. Are you saying that in 5/4 the best beats to emphasise are 4 and 5? And maybe 1. I guess that makes sense, there is a rhythm there: | 1 - - 4 5 | 1 - - 4 5 |.

    Maybe it's a lack of familiarity but I do find it very difficult to get into the groove without trotting out 'patterns' to cover the 5/4 rhythm. 4/4 is no problem and one can let it flow, but this defies the inner foot-tapper.
    I would probably start with patterns and gradually diversify. I don't play in 5 every day. So, I'd have to start with what I could do. First step to learning a hundred ways is to learn ONE I guess?

    When it comes to unfamiliar meters, I'm sure it's just about shedding the way you would unfamiliar changes etc. I checked out some drum genius 5/4 patterns today, and had substantial trouble really hearing any of them without the clave, and a lot of trouble WITH, as well. They're pretty funky though. Make Take Five sound pretty straight. Can't skip the basics I guess...

    By the way, the particular pattern I mentioned above just happened to be the one I thought you were really hearing well, in that one spot. Seemed to click for you at that moment. There are many others.
    Last edited by matt.guitarteacher; 02-12-2017 at 08:52 PM.

  7. #56

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    Quote Originally Posted by wizard3739
    This is my first attempt for this one. It is kind of a blue approach, very different for me and hard for me to do. I hope I have time to try again with a different approach. Maybe a Latin sound?

    wiz (Howie)

    Box | Simple Online Collaboration: Online File Storage, FTP Replacement, Team Workspaces
    I quite like it as a sort of ballad like that - I don't think it's really blues, as you suggest. Whether it works on this tune, as Jeff said, is another thing. I think it could, but it would have to be cleverly done.

  8. #57

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    It's not the style, it's the drumbeat. It does some little hitches in the later bars that have nothing to do with the melodic rhythm.

    The perils of tracks.

  9. #58
    Quote Originally Posted by wizard3739
    This is my first attempt for this one. It is kind of a blue approach, very different for me and hard for me to do. I hope I have time to try again with a different approach. Maybe a Latin sound?

    wiz (Howie)

    Box | Simple Online Collaboration: Online File Storage, FTP Replacement, Team Workspaces
    I really like your phrasing on this wiz. Haven't heard anything quite like it from you. Tapping into your inner Lester Young in a cool way. Great lazy quarter note triplet phrasing. Got better as it went. I like the approach insights shared as well. Thanks.

  10. #59

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    Quote Originally Posted by mr. beaumont
    It's not the style, it's the drumbeat. It does some little hitches in the later bars that have nothing to do with the melodic rhythm.

    The perils of tracks.
    Ah, got it.

  11. #60

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    Quote Originally Posted by mr. beaumont
    The track has an off kilter thing that does not work on this tune, during the melody. It seems to throw you off a bit.
    Maybe it is using a BIAB real track meant for a different tempo?

  12. #61

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    My version of this great song. I enjoyed doing it, but much more listening to the other previous versions. Greetings.


  13. #62

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    Quote Originally Posted by pkirk
    Maybe it is using a BIAB real track meant for a different tempo?
    Yeah, I dunno. There's something in the ride pattern that seems to work against the melody of this tune. Obviously not as big of a deal during the blowing...I could be crazy, though.

  14. #63

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    Quote Originally Posted by mr. beaumont
    Yeah, I dunno. There's something in the ride pattern that seems to work against the melody of this tune. Obviously not as big of a deal during the blowing...I could be crazy, though.
    This is why I prefer doing my own backings quite often. Or selecting one less intrusive chorus from a backing track and repeating it.

  15. #64

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    A cool arrangement, and a great solo.

  16. #65

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    Quote Originally Posted by pkirk

    A cool arrangement, and a great solo.
    Weird. Why do they keep changing the rhythm?

  17. #66

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    Quote Originally Posted by Tomcat
    Finally getting up to the Practical Standards schedule. Lot of great education here and lot of good music at the same time

    My first touch with this song that I always liked but never got learned. Some free solo noodling:
    GREAT !!!!
    Cheers
    HB

  18. #67

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    on Valentine's day

  19. #68

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    Quote Originally Posted by orri
    ..
    what chords do you use in bars 5 and 6
    the real book says Dm, Dm/C# | Dm/C |
    I hear many recordings do some decending bass thing on every beat, and Dm/C sounds a bit off (palying just a c note on the bass worked fine).
    It's a minor line cliche' similar to example 11.10 in the following pdf.
    Line Cliches - melodic phrases reharmonization

    I think of those bars as
    | Dm DmM7 | Dm7 | Bm7b5 | E7 |

    But I'll often play it as:
    | Dm A7aug5 | ...
    Which only loses the note D in the second chord.

    Note that Bm7b6 could be thought of as Dm6 (same note names), which can give you ideas for other voicings.

    "Line cliché" means one voice (often the bass) moves chromatically. But just because it's typically played using a line cliché doesn't mean we must comply. If overused a line cliché becomes, well, too cliché. I sometimes omit them where expected and add them where they aren't to add interest. As long as it works with the melody all is good.

    I learned the little I know about line clichés from a clinic with Tim Lerch. Maybe he or someone else will jump in and tell me I've got it all wrong. February 2017 - Yesterdays
    Last edited by KirkP; 02-16-2017 at 02:57 PM.

  20. #69

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    I'm a little late to this thread but I love the tune so I thought I'd do a version to share. Enjoy.
    All the best
    Tim
    Last edited by TLerch; 02-16-2017 at 02:17 PM.

  21. #70

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    Quote Originally Posted by TLerch
    I'm a little late to this thread but I love the tune so I thought I'd do a version to share. Enjoy.
    All the best
    Tim
    Ha! I just spotted that new video on your Youtube page, and guessed you were going to post it here. Great version, and with the closeup it's like a lesson. Thanks!

  22. #71

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  23. #72
    Quote Originally Posted by M-ster
    Is that you on bass?

  24. #73

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    I was trying to make my own version of impro but in the meantime got so amazed of Wes version that I decided to transcribe the Boss and learn it first. There is already a nice transciprion on YT played all thumb and it helped me clear few doubtful notes.
    I'm not playing the thumb too much, the rest of solo will be ready to play and post in March probably but if you want to get tabs/notation I'll make them available on my website in next few days.
    The biggest mastery is that even in the craziest octave drills Wes is always connected to the melody of the song.


  25. #74

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    Quote Originally Posted by M-ster
    Very nice lines, great approach!

    wiz

  26. #75

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    Quote Originally Posted by matt.guitarteacher
    Is that you on bass?
    It's kontakt kore player on midi'd bass.

  27. #76

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    Try this. Includes Fred Astaire chewing gum :-)

  28. #77

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    Ha! Then I don't know. The RB sheet shows it but I always thought it meant the 2nd ending was only the final one, not between each chorus. Doesn't sound very good between each.

  29. #78

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    Well, if it's a 16-bar tune most versions would end at the Eb7 and go straight back into the Dm as bar 1 - and they do, I've checked. Playing two more bars of Dm would extend it to 18 bars. I know there are odd-numbered bar tunes but that would sound clumsy.

  30. #79

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    Quote Originally Posted by fuzzthebee

    As you were.
    Oh god, must I? That was quite exciting :-)

  31. #80

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    Here's my entry, my first in Practical Standards. Comments welcome.



    What a nice little form -- a flipped minor cadence, repeated, a stack o' sevens, some major ii V, and some really juicy melody to play off of.

  32. #81

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    Yeah, someone up above said this is a really sad, sad song. I see it a little differently. More just wistful. Pretty close in tone to the McCartney song.

  33. #82

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    Yes, if I never heard people play it on this thread and just played "real book" notation, I'd think it was 2/4 Ooomph - Ahhh kind of swingy gypsy tune.

    Am I the only one to think the first and he 4 bars are naturally |F(Maj7) Dm(7)|Gm(6) C7|, as opposed to real book's |Dm7 |Em7b5 A7b9|?

    Also, another example of "jazz convention" *** making quite a simple task unnecessarily harder than it really is, that A+7. Yes F is in melody, but it does not work in a block chord, maybe on top, but then it's not + chord, but rather b13, IMO.
    *** Nothing is being played as written ... meaning you have to know the tune before you start learning it.

  34. #83

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    Here is my entry for February.

    DailyMotion Video

    I am really glad I joined this group. I did not know this song a month ago and now I have a new tune in my repertoire.
    It also encouraged me to listen to a bunch of versions of the song that were new to me (like Wes Montgomery's version).

    Do we have a tune for March yet ?
    Last edited by Doublea A; 03-04-2017 at 08:30 PM.

  35. #84

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    Quote Originally Posted by pkirk


    A cool arrangement, and a great solo.


    Wow, awesome... is that Aaron Rodgers? I haven't really listened to him, but maybe I should.

  36. #85

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    Quote Originally Posted by Tomcat
    I was trying to make my own version of impro but in the meantime got so amazed of Wes version that I decided to transcribe the Boss and learn it first. There is already a nice transciprion on YT played all thumb and it helped me clear few doubtful notes.
    I'm not playing the thumb too much, the rest of solo will be ready to play and post in March probably but if you want to get tabs/notation I'll make them available on my website in next few days.
    The biggest mastery is that even in the craziest octave drills Wes is always connected to the melody of the song.


    The transciption pdf with notation/tabs already available on my site. Still work in progress about full linear analysis of the solo as well as final performance ( triplet octaves in bars 69-77 are giving me some pain, my thumb all down is not fast enough, thumb alternate can't articulate all notes well, think to play this fragment with a pick like the rest of single note lines)

    Any comments or critique welcome guys

  37. #86

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    Quote Originally Posted by Vladan
    Yes, if I never heard people play it on this thread and just played "real book" notation, I'd think it was 2/4 Ooomph - Ahhh kind of swingy gypsy tune.

    Am I the only one to think the first and he 4 bars are naturally |F(Maj7) Dm(7)|Gm(6) C7|, as opposed to real book's |Dm7 |Em7b5 A7b9|?

    Also, another example of "jazz convention" *** making quite a simple task unnecessarily harder than it really is, that A+7. Yes F is in melody, but it does not work in a block chord, maybe on top, but then it's not + chord, but rather b13, IMO.
    *** Nothing is being played as written ... meaning you have to know the tune before you start learning it.
    The melody in bars 1 - 4 could have been the beginning of a tune in F, but the melody of bars 5 - 8 make it pretty clear Dmin is the intended key.
    I don't care for Dmin7 as the first chord in the key of Dmin. I much prefer Dmin or Dmin6.
    I think of A+7 as an indication that the natural 5th should not be played. Even if the #5 is on top, I'd call such a chord augmented, not 7b13.
    Last edited by KirkP; 03-15-2017 at 05:24 PM.