Bebop Heads (#4) - Moose the Mooche

[charlieparker]

I transcribed this a few years ago without using isolating and slow-down software but I just ran those phrases through both and here's confirmation of the rest in bar 2 (no G) and the Ab in bar 7.

Stream Moose The Mooche (Bar 7) by PMB | Listen online for free on SoundCloud

As I said earlier, it's easy to hear what we think the notes should be to form a common or idiomatic phrase (I've been guilty of the same) or pitches and hits coming from other instruments.

I hear Ab, too.

[PMB]

Moosing around, part 1....

Moose the Mooche, first 4 bars - Box.com



Yes, it is excellent!

I like how you change the rhythms around for various figures. It's a nice stepping off point for soloing.

On that point, I was playing Parker's Anthropology years ago with a friend (the organist on the clip I posted) and we decided to break the head down to basic melodic and rhythmic units as the sole source for improvisation. The same exercise could be carried out for Moose The Mooche. It's a great way to ensure that our solos are related to the tune rather than relying on generic rhythm changes figures.

[PMB]

For example, here's an exercise I wrote at that time employing only 4ths and rhythmic units outlined in the previous post:

[Mick-7]

Anyone have an elegant fingering/sweep for that first triplet?

You may find it easier to sweep pick it if you play it up an octave, like say.... (the numbers are the fingerings I'd use).

[Mick-7]

For example, here's an exercise I wrote at that time employing only 4ths and rhythmic units outlined in the previous post ....

So then, the idiology would be the Fourth Way?

What is the Fourth Way? – Ouspensky Today

[PMB]

So then, the idiology would be the Fourth Way?

What is the Fourth Way? – Ouspensky Today

Funny you should mention that. I went to hear Mike Nock's piano trio on Saturday. He's a friend of mine and lives in the next suburb here in Sydney.

Mike is originally from New Zealand but made his name in the US. He was part of what was arguably the first electric jazz fusion band, The Fourth Way:

Mike Nock - Wikipedia
The Fourth Way (band) - Wikipedia

[PMB]

You may find it easier to sweep pick it if you play it up an octave, like say.... (the numbers are the fingerings I'd use).

That's exactly where I play the opening phrase (with a couple of different fingerings).

[Mick-7]

Funny you should mention that. I went to hear Mike Nock's piano trio on Saturday. He's a friend of mine and lives in the next suburb here in Sydney.

Mike is originally from New Zealand but made his name in the US. He was part of what was arguably the first electric jazz fusion band, The Fourth Way:

Mike Nock - Wikipedia
The Fourth Way (band) - Wikipedia

I remember him, he spent a lot of time in the San Francisco bay area, played with Michael White, the electric violinist.

[AllanAllen]

I’ll make a clip on lunch break of myself playing it badly and you can critique. I’ve worked out 2 low positions and 2 an octave up. None of which feel smooth.

[AllanAllen]

I think this is still half speed for the “slow” Miles Davis version.

The high octave feels better than the low octave, but I can’t see myself getting much faster than this. Neither fingering sits well on the guitar.

[PMB]

I think this is still half speed for the “slow” Miles Davis version.

The high octave feels better than the low octave, but I can’t see myself getting much faster than this. Neither fingering sits well on the guitar.

Sounds ok to me. Just watch that you catch the opening rhythm in bar 2 (it's a signature Parker figure) and the penultimate note in bar 3 should be a Bb rather than B.

[Mick-7]

These would be the easiest positions in which to sweep pick the triplets (you could alternate pick the strings), but the second option is ackward to get to from the preceding F notes.

[AllanAllen]

Sounds ok to me. Just watch that you catch the opening rhythm in bar 2 (it's a signature Parker figure) and the penultimate note in bar 3 should be a Bb rather than B.

Thanks, I can hear that I’m square but can’t tell what’s squaring me up. Just need to get quick enough to play along to Parker at half speed.

[PMB]

Thanks, I can hear that I’m square but can’t tell what’s squaring me up. Just need to get quick enough to play along to Parker at half speed.

You're playing the descending arpeggio as all eighth notes and coming in one the '1" of the 2nd bar. There should be an eighth note rest followed by an eighth note and a triplet: (1) + 2 + a.

[pamosmusic]

Thanks for keeping the be-bop bopping, Mick.

I love this tune but it was always pretty tough for me:

[PMB]

Yes, a fingering or picking pattern that might seem comfortable at a slow tempo can go out the window when things heat up on fast bop tunes.

[charlieparker]

Thanks for keeping the be-bop bopping, Mick.

I love this tune but it was always pretty tough for me:

Your left hand fingering is the same as mine, though I find the pull off a bit awkward.

One question though, why do you use a downstroke on the Bb to start the phrase as opposed to just sweeping Bb, G Eb?

[pamosmusic]

Your left hand fingering is the same as mine, though I find the pull off a bit awkward.

One question though, why do you use a downstroke on the Bb to start the phrase as opposed to just sweeping Bb, G Eb?

hmm for the accent I suppose

[AllanAllen]

Thanks for keeping the be-bop bopping, Mick.

I love this tune but it was always pretty tough for me:

So, sidebar anecdote to support your main point. The trumpet player in my group suggested we play GIbraltar and sent a version of Freddie Hubbard absolutely cooking it. The 2nd phrase is a little minor scale pivot motif and I couldn't get it until I figured out my right hand pattern, now I just think of the sound and my hands do it.

That's what I mean by fingering sits well, it has to work good for both hands. I can feel myself fighting the guitar on this tune and I can't play the line in time, it widens out over the bar starting on the 1 and then 8ths notes instead of triplets like PMB says.

[Mick-7]

They don't play the Cm triplet the first time through, just an Eb triad in syncopated 8th notes like so:

[charlieparker]

They don't play the Cm triplet the first time through, just an Eb triad in syncopated 8th notes like so:

That's what I hear, too, but most people play the triplet on other recordings I have listened to.

[Mick-7]

That's what I hear, too, but most people play the triplet on other recordings I have listened to.

Later on in measure 10 the Cm7 arpeggio is followed by a Cm7b5 arpeggio (over the F7 chord) so you'll have to deal with it eventually.

[PMB]

They don't play the Cm triplet the first time through, just an Eb triad in syncopated 8th notes like so:

That's correct and it's one of those things that may have been intended but bypassed on the actual recording. I'll check when I get a chance to hear what happens on the second 'A', the head out and on other performances.

Of course, there are a number of Parker tunes that evolved over the years, even to the point where he rewrote whole sections (eg, Ornithology). At any rate, I'd still suggest coming in one the 'and' of 1 for that bar.

[pamosmusic]

Oh yeah I guess that’s true

[AllanAllen]

Any tips on removing tension from sweep picking? I can feel my shoulders tense up when I do it.

I mean other than, don't be tense.

After another session, the 12th fret position seems easier to sweep in than the 3rd fret. I also think my action creeped back up over the last few months.