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  1. #511
    Quote Originally Posted by ibnrushd View Post
    TruthHertz,


    I hope it's not impertinent to ask, and of course feel free to ignore this question, but do you have any recordings of your music available for purchase?
    No, not at all. It's a personal philosophical choice but I have a love/hate relationship with recording. I have heavily documented others (around here, I've been a documenter and archivist of the scene for a long time) but I don't record myself. It's distracting from the process of the lost moment for me. I play a lot with people though, and if you by any chance live or study by my town here, Boston, hit me up and let's play.

    It's really the way to bring the lifeblood to all these ideas.

    David

  2. #512

    Coda. Thank you for being part of this

    One of the best farewell songs written.
    Commit to a song a week. What could a serious student hope to learn?-screen-shot-2018-09-28-8-22-08-am-png

    I'll leave the analysis of this wonderful gem to you guys, except to say that duality between Eb and C- is a potent one. Use it to create solos that embody a larger sense of composition. Go beyond running changes and think with a sense of perspective and scale (the other sense of scale).
    For instance, you might set yourself a three chorus solo scheme. The first one plays with melodic ideas that allude to the head, the second takes a motif and develops it with figures of your own vocabulary, the third combines patterns of a denser nature that set up and highlight melodies that return you home to the head that close out. Thinking on a larger scale holds its own set of considerations that require thought and practice. Use your practice time to think in different ways too. Expand your awareness.

    Personally, I'm going to spend the next year on an ongoing exploration of Tune a Week part 2. This one I'll do on my own.
    One thing I've decided to do is set up a weekly regimen wherein on the first day I'd look at essential elements of the piece, melody, chordal structure and topography, and understand the form.
    The second day I'll create diatonic phrases with embellishments (pickups, approach notes, passing tones... the bebop vocabulary).
    The third day I'll begin chord substitutions and harmonic approaches that use tritone substitutions, sequences, secondary dominants.... This is where I'll combine patterned sequences with melodic destinations.
    The fourth day I'll focus on creating melodic and rhythmic ideas that diverge from the form yet converge at important points in the form to create alternative melodies working independently but bring you home in a very recognizable way.
    The fifth day I'll just see how all these things fit into some two or three chorus scheme I plan out ahead of time.


    This is my own personal plan for the coming year. I'll be doing my own tune a week; I really enjoy this "immerse and swim" way of learning and though this thread is now at a close, I'll be listening. And I'll be seeing you.

    I'd love to hear about your own strategies and goals for continuing your own awareness to the next level, whatever that might be.

    Play like you mean it. Be playful

    David



    Brad Mehldau's with notes



    And Brad's teacher, the master himself, Fred Hersch, with notes



    For the Julian Lage fans


  3. #513
    Join Date
    Jun 2017
    Location
    Stow, MA
    Posts
    786

  4. #514
    Quote Originally Posted by guido5 View Post
    With the verse! Thank you!
    David

  5. #515
    Join Date
    Jan 2017
    Location
    On an island
    Posts
    29
    David,

    thanks so much for all the effort you put in to this- the generosity is humbling. It has been a real highlight for me to see new message alerts and the thought provoking content. I never really commented that much, partly out of modesty/shyness, with so many seasoned players around here. In hindsight that was a mistake, it’s leeching off you without giving feedback to interact with. Sorry.

    You’ve taught me so much about what makes music musical, and tasteful phrasing. In development terms i’m still internalising mechanical facility on the instrument. Your language of contours, landscapes and how to approach tunes takes me beyond that and lays a roadmap ahead for quite some time. That material is going to live well beyond these 12 months.

    cheers
    Richard

  6. #516
    David, thank you so much for your hard work with this thread. I have been following this since beginning, but the new tune per week turn out be too much for me to take on. I do think there is a lot of valuable information in this thread and your analyzies of these songs have brought lots of new ideas for my own practising. Thanks again and all the best for you.

  7. #517

    Autumn Leaves - what I learned week 1

    I've just done my first week of this study group with Autumn Leaves. This week has definitely helped me get around the changes all over the fingerboard which was my primary aim.

    A nice surprise was that I was improvising mainly with chord tones from arpeggio shapes that I made up from Leavitt scale fingerings and the results sounded mediocre to be honest. However yesterday I bought a Frank Vignola's Essentials Jazz Standard Soloing course on TrueFire which I thought was below my level of playing......however Franks lines are extremely tasty. They are very melodic and used things such as rhythmic displacement etc. The feel of his lines are great.

    So my aim for All of Me is to simplify my lines and make them really melodic......can't wait.

    Ps David, thanks for all your work on this thread. It's appreciated and I'm sure that I'm not the only one that hopes that you'll change your mind and continue with part 2 of a tune per week on this thread.

  8. #518
    Quote Originally Posted by Liarspoker View Post

    So my aim ... is to simplify my lines and make them really melodic......can't wait.
    .
    Beautiful.
    I think about how challenging it is to make things simple. Really, the goal of everything that's within this thread, is to make everything simple so the feeling of creating can always be honest and natural.

    No matter where you are in the development of yourself as a musician, an artist or most challenging, an improvisor, I know that being honest with what you know and do will inevitably lead to becoming extraordinary in what you create.

    For everyone that's curious about what can be accomplished in a year of pieces, or anyone who feels overwhelmed by what it takes to take a step for one day, I have a thought exercise: Don't let what you learn get in the way of what you can imagine.

    David

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