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Originally Posted by NSJ
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10-19-2017 04:18 PM
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Originally Posted by wzpgsr
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Originally Posted by Jehu
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Originally Posted by Duffy Pratt
In the key of D, that system is moved up to "do" on the 10th. Does anyone learn to visualize keys this way? It comes in really handy to keep you from getting fixated on "comfortable" positions.
Just a suggestion for an eventual point of study.
David
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This is really not apropos to the point of the thread, but I am really hearing how different amps, settings, and guitars affect how I play over these tunes.
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Originally Posted by wzpgsr
And I've found from experience that for me, it doesn't coincide with prestige guitars in general.
This thread is about creating your voice. It's really of essence to be able to express that with the least amount of resistance. When you find the inspiring combination, you'll know it.
David
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As promised, each 4th week of the month I choose a song that's not generally considered a workhorse standard. These are songs I love to play and some may have challenging twists but they're always ones I love playing. This is by guitarist Herb Ellis but it was Bill Evans' version I came to know this song from.
Detour Ahead is AABA, and the B section provides a beautiful contrast/compliment to the A section.
Listen to the melody. Listen to how the phrases seem to ask a question, then answer. How it breathes. It's one of the reasons this tune sticks with me.
The thought of the week while you're getting to know this song is: How do you make a solo or song come alive? What are the things that take just notes, and make them into thoughts, questions, answers, exclamations or in some way tell a story?
Have fun!
David
I'll give a deeper analysis or breakdown through the week, see what you get out from your own first encounter.
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Some of the ways people have found their own take on this song
Bill Evans trio
Elaine Elias has a nice vocal take
And Ella -strangely, as a duo here, the youtube poster doesn't give one hint as to who it was, though she did work with Herb Ellis around that time, and of course Joe Pass later.
Hope you like it
David
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Hi Truth ,
Is there anyway you can link to a PDF of the sheet for detour ahead ?
I'd find it easier if I could print it out
May not be legal .... I dunno
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Beautiful.
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I like this version too:
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I would be really interested if you could script this for solo playing, ie no backing track to follow but learning the complete song, bass, melody, harmony etc, all played by one person on the guitar.
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This is a great song and this will be a fun study week
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Here is a quick copy of DETOUR AHEAD.
I did not check chords, spelling etc., just made a cleaner chart to read.
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From jazz royalty:
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So much to learn from the Great Ladies of jazz...
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And here is one Herb Ellis's versión:
Detour Ahead (from The Jazz Pianist's Ultimate Guide To The Real Book) | Keyboard Improv
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Originally Posted by johnnyjazz
johnnyjazz, I certainly empathize though. The first time I heard the Bill Evans version of this, I thought "I need to be able to play this as solo guitar some day". I will share this though, I'm working on this tune solo too, but on a fretless, which precludes any really complicated or reaching chord forms. Not a detraction at all with a piece this beautifully and harmonically descriptive. I work from the melody. It's important for me to get it by memory. Then where changes appear, or when the melody has long tones, the presence of a bass note alone (dyad if you want at the beginning of a bar) is quite enough to make a beautiful arrangement.
Working from the bass up, you can voice a simple chord so the melody is the top note is the melody (major 7 with 3 on top for starters...) but if you want the whole tune arranged, maybe that's a cool thread on its own. Is that what you're asking?
David
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This weeks tune is great. I am not that familiar with it. I really enjoyed listening to Bill Evans, Herb Ellis, and several other versions. I have a lot more listening to do, though. Tonight’s practice reminded me that you can’t always fake it till you make it—especially at 42 bpm! The first two 10 minutes I tried to hit just the thirds of each chord without relying too much on the chart. I have most of it down, but need to spend some extra time with this one. Third run through I opened up a bit, this time trying to pick up to the thirds with various approaches and a little voice little. A for effort I guess. I am going to gradually increase the tempo, but I’d like to stay closer to ballad tempo for this one. A few versions I listened to start off very slow and then jump off into double time.
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Also, most of the changes are pretty straight forward for me, but what the heck is going on functionally in the first two measures??
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Originally Posted by wzpgsr
C° Is the diminished that gets you to the V7 chord (G7). B7 is One of the four related dom7 chords associated with C°. . F# dom is the enharmonic Tritone (Gb) to C7. C7 gets you to Fmaj (V7/IVM).Last edited by NSJ; 10-23-2017 at 11:58 PM.
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Great tune. Gosh, Bill Evans playing is incredible on this. I don't know this tune but it's beautiful. I'm going to transcribe some of his lush voicings. Particularly the Cmaj7 treatment in bars 7 and 15. There are some gorgeous lines to be had there. It freaks me out how good one guy can get at his craft. Maybe I'm just enamored by the fact that I don't know this tune. Only transcribing it will answer that for me. Gorgeous playing.
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Originally Posted by TruthHertz
I am very influenced by Martin Taylor.
This is a big ask and i know it will take time, but all good things etc.
Many thanks John.
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Originally Posted by WILSON 1
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Originally Posted by johnnyjazz
I'll think about how I'd do a project thread. It may take time to get through the piece, but I'd like it to be a lesson on chord melody and not just a list of places to plant your fingers. If that's OK.
David
PS. no further lecture on this topic but there's great power in acquiring fluency in standard notation. You can learn it in a month or so and it'd be with you your whole life.
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