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  1. #1

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    Our standard for Feb 2019 will be Night in Tunisia (D Gillespie, F Paparelli, J Hendricks, 1942).

    Background:
    Jazz Standards Songs and Instrumentals (Night in Tunisia)

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    The Jazz Guitar Chord Dictionary
     
  3. #2

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    And what happened to your impressive version of Cherokee, Mr M-ster?

    I confess I already did it...



    Weird. Latin and swing for what is basically an Arabic culture in North Africa! Never mind :-)

  4. #3

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    Quote Originally Posted by ragman1 View Post
    And what happened to your impressive version of Cherokee, Mr M-ster?
    Late, but still coming, I would hope. Where does the time go? Perhaps this weekend.

  5. #4

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    Goody :-)

    Quote Originally Posted by M-ster View Post
    Where does the time go?
    Who knows?

  6. #5

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  7. #6

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  8. #7

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  9. #8

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    Popular this one!

    I'll break my own complaint and post this. Anyone who doesn't like this has stopped living!


  10. #9

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    Glad to see you haven't stopped living, Gramps :-)

  11. #10

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    .......funky style solo guitar with elements of walking bass strings...I can not hear reall jazz lines or notes...:-)
    anyway nice sound and playing...sorry ragman1.......

  12. #11

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    Quote Originally Posted by ragman1 View Post
    Glad to see you haven't stopped living, Gramps :-)
    Alive and well. Just working on my own.

    I liked the version with the nylon string guitar.

  13. #12

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    The first six bars are usually written as
    | Eb7 | Dmin |
    but as I’m starting on the tune I feel my ideas flow better if I think of them as
    | Bbmin6 | Dmin6 |
    then improvise over the melodic minor scales in Bb and D.

    I think the first chord could also be considered to be A7alt. Bb melodic minor is the altered scale of A since it includes the root, 3rd, b7, b5, #5, b9 and #9, so it still works no matter which name you choose for the chord.

    Am I on the right track? I’m kind of weak on altered scales and melodic minor substitutions, so maybe this is a good tune to focus on some of that.

  14. #13

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    Yes I find it easier to view it that way too. Probably how Pat Martino would see it too, with his minor conversion approach.

  15. #14

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    I was doing Bbm6 - Dm6.

    I think. Can't quite remember.

  16. #15

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    Some good ideas here from Chris.


  17. #16

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  18. #17

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    Playing B note over Amb5 in the head - it is not good idea....also Ab -it is too nostalgic note.
    I think Night in Tunisia is very energetic and rhythmic jazz tune making people happy.

  19. #18

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  20. #19

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    The melody of this tune is a masterclass in line construction on minor II V I's

  21. #20

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    But nobody wants to play it :-)

  22. #21

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    Quote Originally Posted by KirkP View Post
    The first six bars are usually written as
    | Eb7 | Dmin |
    but as I’m starting on the tune I feel my ideas flow better if I think of them as
    | Bbmin6 | Dmin6 |
    then improvise over the melodic minor scales in Bb and D.

    I think the first chord could also be considered to be A7alt. Bb melodic minor is the altered scale of A since it includes the root, 3rd, b7, b5, #5, b9 and #9, so it still works no matter which name you choose for the chord.

    Am I on the right track? I’m kind of weak on altered scales and melodic minor substitutions, so maybe this is a good tune to focus on some of that.
    I think that works.

    It's obvious that the first line on Eb7 is derived from the 'important minor' arpeggio with neighbour tones (Bbm triad, basically) - of course if you like to think that way, Bbm on A7 instantly suggest the altered scale - it's not how I think, but it can certainly point you in that direction. Later we have a characteristic b5 (Eb) in the melody.

    (I would probably tend to see it differently, to me it's as important to look at how the notes in the line are functioning in relation to the target chord as any scale. I would also think Eb7.)

    Anyway, look at the bridge, great examples of line building on a minor II-V's using the harmonic minor scales.

  23. #22

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    Quote Originally Posted by ragman1 View Post
    But nobody wants to play it :-)
    I'll have a go.


  24. #23

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    Quote Originally Posted by grahambop View Post
    I'll have a go.

    Beautifull playing!
    Real jazz guitar take.
    Congrats.
    Best
    Kris

  25. #24

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    Quote Originally Posted by ragman1 View Post
    But nobody wants to play it :-)
    nr1... "no what to play but how to play"...

  26. #25

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    Terrific stuff, Graham! You've lost none of your old touch, I see. That's the way to do it!

  27. #26

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  28. #27

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  29. #28

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    Quote Originally Posted by christianm77 View Post
    ok so that's the best thing I've ever seen. What is JOTW, and is there a program i can get to create hellish landscapes like this?
    White belt
    My Youtube

  30. #29

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    Ah, a Simon Fransman classic...

    Jotw is Jam of the Week, a really great Facebook group in which a tune (or sometimes an artist) is "assigned" every week and everybody does their take. I keep it closer to the original intent of the group, usually just one chorus of improv...but as you can see, other folks take the assignment to creative new levels.

    It's a great way to keep your chops up, learn new tunes quickly, and the folks are generally really supportive. I'd recommend anyone here to join--I've been doing it for about 4 years, and it's really taught me how to get inside a song quickly.
    Jeff Matz, Jazz Guitar:
    http://www.youtube.com/user/jeffreymatz

    "Jazz is like life...it goes on longer than you think, and as soon as you're like 'oh, I get it,' it ends."

    --The Ghost of Duke Ellington

  31. #30

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    These (short) vids are also a legit really good primer for bebop line construction:






  32. #31

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    Quote Originally Posted by mr. beaumont View Post
    Ah, a Simon Fransman classic...

    Jotw is Jam of the Week, a really great Facebook group in which a tune (or sometimes an artist) is "assigned" every week and everybody does their take. I keep it closer to the original intent of the group, usually just one chorus of improv...but as you can see, other folks take the assignment to creative new levels.

    It's a great way to keep your chops up, learn new tunes quickly, and the folks are generally really supportive. I'd recommend anyone here to join--I've been doing it for about 4 years, and it's really taught me how to get inside a song quickly.
    I'll take a look and scope out the learning curve; i get intimidated easily (musically at least)
    White belt
    My Youtube

  33. #32

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    Quote Originally Posted by grahambop View Post
    I'll have a go.
    That’s great! If someone told me I was listening to a laid back Kenny Burrell I might have believed them.

  34. #33

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    Thanks Kirk, yes KB is definitely an influence!

  35. #34

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    There is my take of The Night In Tunisia.I did update with different guitar solo and solo scat at the end.
    Best
    kris

    Box
    Last edited by kris; 02-15-2019 at 03:08 PM.

  36. #35

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    Sounds good on nylon kris, it suits this tune.

  37. #36

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    Quote Originally Posted by grahambop View Post
    Sounds good on nylon kris, it suits this tune.
    Thank you very much grahambop.
    Best
    kris

  38. #37

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    look at update version;
    Box


    best
    kris

  39. #38

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    There is my last take on Stratocaster...solo over Tunisia chords-bossa style.
    I used old vs-880 Roland digital studio workstation for recording.
    Best
    Kris

    Box

  40. #39

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    Last blast :-)


  41. #40

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    well....as I was slaving away on different versions of this tune I thought you folks might get something out of this too. so I've transcribed a gypsy recording of Tunisia. I've tried to get close to the guitar players timings and fingerings although sometimes I've strayed only because gypsies have this idiosyncratic method of not using the 4th finger (perhaps it;s a Reinhardt thing I dunno). Anyway the challenge was to sort out the chords for the C section which I believe are best indicated iin the realbook 1 and I tend to agree with the way these guys play the chords. + there's my favourite minor with a low 6th shape that they always use in there too. notice he switches register a lot by just slding up and down with his index finger, very good idea that.


    Attached Images Attached Images
    Last edited by jonbo; 06-21-2019 at 01:47 AM.

  42. #41

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    In my limited understanding of Gypsy Jazz technique, sliding chromatically horizontally on one string is very idiomatic to the genre. It's a great technique, Pat Martino uses a variation of this idea in his own playing. I have to say, it's A LOT trickier than it looks

  43. #42

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    Quote Originally Posted by Irez87 View Post
    In my limited understanding of Gypsy Jazz technique, sliding chromatically horizontally on one string is very idiomatic to the genre. It's a great technique, Pat Martino uses a variation of this idea in his own playing. I have to say, it's A LOT trickier than it looks
    Yeh

    I'm sure you're right about the index finger business. I've not really tried it, but it's always been a conundrum to switch higher lower registers. I have tried NOT to use the pinky on the top E string so allowing the index move up and down a bit quicker (seems to work).& I know a lot of Flamenco guys utilise the open top string more to make the flow work better e.g. Paco Da Lucia.

  44. #43

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    Like any song, it really requires learning the melody and form first. The . It's a matter of seeing what familiar harmony it contains, like major or minor 2/5/1's, Blues,Ballad,Latin,etc.