Reply to Thread Bookmark Thread
Posts 1 to 29 of 29
  1. #1

    User Info Menu

    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)

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #2

    User Info Menu


  4. #3

    User Info Menu


  5. #4

    User Info Menu


  6. #5

    User Info Menu

    Popular this one!

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


  7. #6

    User Info Menu

    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.

  8. #7

    User Info Menu

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

  9. #8

    User Info Menu

    I was doing Bbm6 - Dm6.

    I think. Can't quite remember.

  10. #9

    User Info Menu

    Some good ideas here from Chris.


  11. #10

    User Info Menu

    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.

  12. #11

    User Info Menu


  13. #12

    User Info Menu

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

  14. #13

    User Info Menu

    Quote Originally Posted by KirkP
    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.

  15. #14

    User Info Menu

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


  16. #15

    User Info Menu

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

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

  17. #16

    User Info Menu

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

  18. #17

    User Info Menu

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

  19. #18

    User Info Menu

    thanks guys!

  20. #19

    User Info Menu


  21. #20

    User Info Menu

    Quote Originally Posted by christianm77
    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?

  22. #21

    User Info Menu

    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.

  23. #22

    User Info Menu

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






  24. #23

    User Info Menu

    Quote Originally Posted by mr. beaumont
    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)

  25. #24

    User Info Menu

    Quote Originally Posted by grahambop
    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.

  26. #25

    User Info Menu

    Thanks Kirk, yes KB is definitely an influence!

  27. #26

    User Info Menu

    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.

  28. #27

    User Info Menu

    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

  29. #28

    User Info Menu

    Quote Originally Posted by Irez87
    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.

  30. #29

    User Info Menu

    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.