February 2017 - Yesterdays

**wizard3739** · 02-12-2017, 08:22 PM

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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**mr. beaumont** · 02-12-2017, 08:34 PM

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.

**christianm77** · 02-12-2017, 08:38 PM

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.

**ragman1** · 02-12-2017, 08:47 PM

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!

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 :-)

**matt.guitarteacher** · 02-12-2017, 08:50 PM

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.

**ragman1** · 02-12-2017, 08:53 PM

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.

**mr. beaumont** · 02-12-2017, 09:06 PM

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.

**matt.guitarteacher** · 02-12-2017, 09:08 PM

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.

**ragman1** · 02-12-2017, 09:10 PM

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.

**pkirk** · 02-13-2017, 01:06 PM

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?

**chismes** · 02-13-2017, 01:17 PM

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

**mr. beaumont** · 02-13-2017, 01:25 PM

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.

**ragman1** · 02-13-2017, 02:43 PM

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.

**pkirk** · 02-13-2017, 04:27 PM

A cool arrangement, and a great solo.

**ragman1** · 02-13-2017, 07:39 PM

Originally Posted by pkirk

A cool arrangement, and a great solo.

Weird. Why do they keep changing the rhythm?

**Hyppolyte Bergamotte** · 02-14-2017, 06:59 AM

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

**Hyppolyte Bergamotte** · 02-14-2017, 07:06 AM

on Valentine's day

**KirkP** · 02-16-2017, 11:08 AM

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.

**TLerch** · 02-16-2017, 02:15 PM

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

**KirkP** · 02-16-2017, 02:50 PM

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!

**M-ster** · 02-20-2017, 08:45 PM

My take:
http://www.noiseinthebasement.com/mp...rdays%2000.mp3

**matt.guitarteacher** · 02-20-2017, 09:05 PM

Originally Posted by M-ster

My take:
http://www.noiseinthebasement.com/mp...rdays%2000.mp3

Is that you on bass?

**Tomcat** · 02-21-2017, 12:17 PM

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.