Something interesting about the chorus of 'It Could Happen To You' (sheet music)

[pamosmusic]

Has anyone ever played this beautiful jazz standard at a concert in front of an audience?
If so. Then please tell us which version of chord changes it was.
Or maybe someone who played these chord changes were not comfortable?
There is no end to this discussion.
ps
You can do that with any jazz standard – it's a waste of time.
Musicology, history,jazz theory – quite a confusion in our heads.

Ive probably played this 200 times in front of an audience? I don’t know. It’s one of the first couple tunes I’ll call at a jam session, if given the opportunity. But here’s one from a pickup gig a few years ago:

What version of the changes? The jazz two-fivier ones. Video looks like the bass player might be using iReal even.

[pamosmusic]

Poor parents - such an intelligent child.
Sometimes I have the impression that I am in kindergarten.
And it's very cheerful and fun here.

My twelfth grade English teacher asked what I wanted to study when I went to college.

I said “music.”

She said … “oh … but you’re such a smart kid.”

[starjasmine]

My twelfth grade English teacher asked what I wanted to study when I went to college.

I said “music.”

She said … “oh … but you’re such a smart kid.”

When I was in college, I took a meteorology class to fulfill a general ed science requirement. First day of class, the prof asks everyone what their major was. When I replied "music" he said "You're probably going to have trouble with the math in this class." My response: "Oh, is it harder than the AP Calculus I proficiencied out of?" He kind of didn't like me much from that point onward.

[kris]

Ive probably played this 200 times in front of an audience? I don’t know. It’s one of the first couple tunes I’ll call at a jam session, if given the opportunity. But here’s one from a pickup gig a few years ago:

What version of the changes? The jazz two-fivier ones. Video looks like the bass player might be using iReal even.

You played a nice solo...key Eb-maj.
You are fluent in this standard better than the bass player.
What are you trying to change about it?
Maybe you're bored with the chord changes you play?
I've played this tune a dozen times in different formations – the chord changes were very similar to yours – maybe even the same.

[kris]

My twelfth grade English teacher asked what I wanted to study when I went to college.

I said “music.”

She said … “oh … but you’re such a smart kid.”

When I was applying to music school, I wanted to get into the guitar class. Unfortunately, such a class did not exist.
I was offered to study the classical double bass .
When the classical guitar class was established, there were 50 willing candidates.
Two places for school in the classical guitar class.
So I played classical music on the double bass for a few years.
I graduated from music school with a diploma on classical guitar.
Funny!!

[kris]

Do you like it in G:

[GuyBoden]

Do you like it in G:

Yes, G is ok, but I can only remember the old style chords, see below.



I failed to remember the newer Real Book chords, whilst playing the song with a friend the other day. I resorted to the old style chords.

[Christian Miller]

Imagine how my parents must’ve felt with me as a five year old.

A funny one happened to me. I constantly use pedagogical questioning in lessons which I think is good practice, but one time a kid looks at me and says ‘why are you asking me. Aren’t you supposed to be the teacher?’

Some people really want to be told what to do. I’ve never quite understood that.


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[Christian Miller]

These are jokes without meaning, they are Christian's domain.
Word game... or something like that.
Best
Kris

It’s not really a joke.

I think guitarists need to get out of thinking chordally. It’s a particular pitfall of the instrument - we all start off with the shapes.

As Barry often quoted Coleman Hawkins ‘I play movement, not chords.’ Hawkins was trained as a composer.

Chord symbols and so on are such a limited way of looking at harmony. Harmony is not really about stacking notes vertically. None of the great composers thought in this way. The challenge we often face as jazz musicians is to make chord symbols into music. But learning a song should be a bit deeper - melody, basslines. Middle lines and countermelodies. Any chords are simply vertical slices of something richer and more musical.

On a more literal level, I do sometimes wonder if I could play a whole gig just comping in single notes. Does a good soloist really need someone to play chords for them? Warne Marsh thought not. So comping needs to do something else, provided we’ve gone beyond the “rhythm section as Aebersold playalong" phase.

Freddie Green ended up here in his own way.

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[Christian Miller]

Has anyone ever played this beautiful jazz standard at a concert in front of an audience?

Yeah, probably hundreds of times?

Then please tell us which version of chord changes it was.

It has varied over the years as I got to know the song better. Usually I end up with something simpler as a mental map of the tune over time.

This is what I make the basic outline of the song. You can sub it to hell and back if you like, but this is my basic reference.

Another tune that gets played a fair bit is Fried Bananas. Same changes.

[Christian Miller]

When I was in college, I took a meteorology class to fulfill a general ed science requirement. First day of class, the prof asks everyone what their major was. When I replied "music" he said "You're probably going to have trouble with the math in this class." My response: "Oh, is it harder than the AP Calculus I proficiencied out of?" He kind of didn't like me much from that point onward.

They really don't like that sort of thing.

Someone said to me in a college audition 'do you think you'll be able to deal with the demands of studying academic music?' and I unwisely said 'I have a degree in astrophysics, I think I'll be OK.'

I didn't get it haha.

[pamosmusic]

Do you like it in G:

Do you like it in a boat? Do you like it with a goat?

[djg]

i love you in blue
i love you in red
but most of all
i love you in blue

[brent.h]

... ‘why are you asking me. Aren’t you supposed to be the teacher?’ Some people really want to be told what to do. I’ve never quite understood that.

lol some kids don't have the skills for autodidacticism for music just yet...in my experience, kids' ability to reflect deeply and then analyse + evaluate things very critically, then act on it only begins to develop around 16, 17... really around the sixth form mark.

...I do sometimes wonder if I could play a whole gig just comping in single notes.

i've heard Horace Silver comp with 3rds only. unbelievably effective.

"Why would you go back to C after that?"

Right? It's comical!

[brent.h]

Do you like it in a boat? Do you like it with a goat?

i love you in blue
i love you in red
but most of all
i love you in blue

i'm really happy for you
imma let you finish...
but beyonce had one of the best videos of all time
ONE OF THE BEST VIDEOS OF ALL TIME

[grahambop]

On a more literal level, I do sometimes wonder if I could play a whole gig just comping in single notes. Does a good soloist really need someone to play chords for them? Warne Marsh thought not. So comping needs to do something else, provided we’ve gone beyond the “rhythm section as Aebersold playalong" phase.

Yes that’s an interesting idea, I recently got some masterclass videos on comping by Lage Lund and Chico Pinheiro, and they both talk about comping with one note, Chico especially makes a sort of whole counter-melody out of it.

Also reminds me of something John Abercrombie said about Jim Hall on the Sonny Rollins’ ‘The Bridge’, there’s a track where Jim just plays single notes behind Sonny. Abercrombie said it was the best comping he’d ever heard or something like that, it was revelatory. (The track is Without a Song).

[Christian Miller]

lol some kids don't have the skills for autodidacticism for music just yet...in my experience, kids' ability to reflect deeply and then analyse + evaluate things very critically, then act on it only begins to develop around 16, 17... really around the sixth form mark.

This isn’t autodidactism. I teach what the Us would term elementary school kids.

What I have generally found is that if you ask questions like ‘which bit of this piece do you think is most important to work on?’ or ‘what do you notice about my hand when I play this way?’ it works really well and stops them from being passive in lessons. The more they can think about what they are doing and the more they notice stuff on their own the better. And they can do this all at about 7 or 8

A good book to check out is the Virtuoso Teacher by Paul Harris

I sometimes think we should go back to the dialogue style for methods, like Fux. I think people would find it a bit stylistically contrived these days but I think it has real plus points.

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[pamosmusic]

i'm really happy for you
imma let you finish...
but beyonce had one of the best videos of all time
ONE OF THE BEST VIDEOS OF ALL TIME

Youre obviously referring to Single Ladies and I hope you’re not being sarcastic.

[Christian Miller]

Yes that’s an interesting idea, I recently got some masterclass videos on comping by Lage Lund and Chico Pinheiro, and they both talk about comping with one note, Chico especially makes a sort of whole counter-melody out of it.

Also reminds me of something John Abercrombie said about Jim Hall on the Sonny Rollins’ ‘The Bridge’, there’s a track where Jim just plays single notes behind Sonny. Abercrombie said it was the best comping he’d ever heard or something like that, it was revelatory. (The track is Without a Song).

Yeah, of course.

A student asked me what they should listen to get better at comping and of course I said the Bridge. But I haven’t listened to it for a while.

RIP Sonny


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[joe2758]

Do you like it in a boat? Do you like it with a goat?

back seat windows up!

[GuyBoden]

Yeah, probably hundreds of times?

It has varied over the years as I got to know the song better. Usually I end up with something simpler as a mental map of the tune over time.

This is what I make the basic outline of the song. You can sub it to hell and back if you like, but this is my basic reference.

Another tune that gets played a fair bit is Fried Bananas. Same changes.

Nice

[kris]

Do you like it in a boat? Do you like it with a goat?

I meant do you like these chord changes?
Have you played such a version ?

[AllanAllen]

They really don't like that sort of thing.

Someone said to me in a college audition 'do you think you'll be able to deal with the demands of studying academic music?' and I unwisely said 'I have a degree in astrophysics, I think I'll be OK.'

I didn't get it haha.

I took chemistry as an elective, first day we did that introduce yourself and tell why you're taking the class.

"I'm taking this as an elective"

"Why? Wait what's your major?"

"I thought it would be fun, and I'm a math major"

I never had trouble finding a lab partner that whole semester.

Another highlight, this guy remembered hydrophilic as "the one that's gay for water" It's one of the few labels/technical terms I remember because of him.

[Christian Miller]

I took chemistry as an elective, first day we did that introduce yourself and tell why you're taking the class.

"I'm taking this as an elective"

"Why? Wait what's your major?"

"I thought it would be fun, and I'm a math major"

I never had trouble finding a lab partner that whole semester.

Another highlight, this guy remembered hydrophilic as "the one that's gay for water" It's one of the few labels/technical terms I remember because of him.

I remember the mathematicians used to come in to our quantum physics lectures and get really upset at the formalism.

I married one in the end. Her opener was explaining the Hairy Ball theorem.

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[joe2758]

[QUOTE=Christian Miller;1467523

I married one in the end. Her opener was explaining the Hairy Ball theorem.

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She might have been hinting something to you my guy