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  1. #1
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    In Walked Bud - Harmonic Approach

    I am sure there is some sophisticated stuff going on in this tune that I do not understand. What are peoples approaches to create movement, nice lines etc?
    “When you’re creating your own ...., man, even the sky ain’t the limit.”
    Miles Davis

  2. #2
    It could be, but not really. Minor with relative major for a few bars- you can just play the same scale all over if you wanna, it's a safe option.

    Basically it's based on Blue Skies, a trad jazz tune, with different bridge, which is even easier harmonically.

    You can quote Stairway To Heaven in the opening A, that's what I do on Blue Skies anyway, since I play it more often. Always get smiles.

  3. #3
    Well, you talk about creating movement, first you have to look at the movement going on in the tune already, which is quite a bit. When you get those down, then you can start to expand.

  4. #4
    Quote Originally Posted by gggomez View Post
    nice lines
    If you don't mind the singing!


  5. #5
    I'm sure there are more advanced readings, but for a beginner/intermediate like me, I would read it like this:


    The first five bars seem to be Fm, the last three is basically a II-V-I in Ab major.

    B section: Two bars of E major, two bars of Gb major, repeat.

    Back to the A section

  6. #6
    Quote Originally Posted by gggomez View Post
    I am sure there is some sophisticated stuff going on in this tune that I do not understand. What are peoples approaches to create movement, nice lines etc?
    gggomez -

    Analysing the tune isn't difficult. But which version are you using?

    I've found about 3 or 4 slightly different versions so far online*. Can you post your version here before we try to tell you what to do with it?!

    * The chords give the same 'effect' but aren't necessarily the same.

  7. #7
    I've always heard that this tune is a variant on the changes to "Blue Skies", with minor differences. The points of movement that you should pay attention to are all part of the melody; the descending minor from tonic-maj7-min7-6th and then going into the relative major gives you a nice guide tone line for the entire A section.

    For the B section, it's a couple chords, but listen to where Monk adds motion + color. He also gives two alternating voices for the B section, one initial one and then a second alto line against the dominant.

    Is this helpful?

  8. #8
    Quote Originally Posted by Average Joe View Post
    I'm sure there are more advanced readings, but for a beginner/intermediate like me, I would read it like this:


    The first five bars seem to be Fm, the last three is basically a II-V-I in Ab major.

    B section: Two bars of E major, two bars of Gb major, repeat.

    Back to the A section
    Where did you get the B section like that? Never heard of those changes there! It originally stays in Fm.

  9. #9
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    Quote Originally Posted by ragman1 View Post
    gggomez -

    Analysing the tune isn't difficult. But which version are you using?

    I've found about 3 or 4 slightly different versions so far online*. Can you post your version here before we try to tell you what to do with it?!

    * The chords give the same 'effect' but aren't necessarily the same.
    hello ragman

    changes I have

    A
    Fm / FmMajor / Fm / Bb7 Eb7

    Ab F7/ Bb- Eb-/ Ab /

    1. Gdim7 C7
    2. Ab

    B
    Fm / Fm / Db7 / Db7
    Fm / Fm/Db7 /Db7

    the song is so intense and I am struggling to incorporate the feel of the tune, I am wondering in to stock feel land and not monkish. Maybe in parts like hitting the colour notes in the b section but not consistent. Can pull a good first phrase or two. Maybe it’s rhythm more than notes it is a very unique song, just love it.


    Ps whilst typing this Night Flower by Donald Byrd just came on my headphones wow!
    “When you’re creating your own ...., man, even the sky ain’t the limit.”
    Miles Davis

  10. #10
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    OK just been listening to George Fables version, think will build up a bit of an etude around the notes he emphasises and of course the melody but still interested in peoples approaches.
    “When you’re creating your own ...., man, even the sky ain’t the limit.”
    Miles Davis

  11. #11
    Quote Originally Posted by gggomez View Post
    hello ragman

    changes I have

    A
    Fm / FmMajor / Fm / Bb7 Eb7

    Ab F7/ Bb- Eb-/ Ab /

    1. Gdim7 C7
    2. Ab

    B
    Fm / Fm / Db7 / Db7
    Fm / Fm/Db7 /Db7
    Ok:

    Fm - Fm/M7 - Fm7 - Bb7/Eb7
    Ab6 - Bb7/Eb7 - Ab6 - Gø/C7b9

    Fm - Fm/M7 - Fm7 - Bb7/Eb7
    Ab6 - Bb7/Eb7 - Ab6 - %

    Fm - % - Db7 - %
    Fm - % - Db7 - (C7b9)

    Fm - Fm/M7 - Fm7 - Bb7/Eb7
    Ab6 - Bb7/Eb7 - Ab6 - (---)

    Presumably the melody's not a problem. Have you googled it? There's not only the sung one I posted but transcriptions by various people and recorded versions.

    So what's the problem? We can't play it for you! I can't give you the feel of the tune and probably no one else can either. Obviously it's bebop, or modern anyway. Can you play that stuff?

    There are note-by-note transcriptions available. Why don't you check out what each player is doing with each line or phrase and adapt the ideas to your own use within your own capacities?

    I can't offer any more than that I'm afraid.

  12. #12
    Quote Originally Posted by Hep To The Jive View Post
    Where did you get the B section like that? Never heard of those changes there! It originally stays in Fm.
    Yeah, that E is a typo - Eb.

    I'm basing that on the lead sheet on the guitarcats site - it has the bridge as
    /Fm7- Bb7/Fm -B7/Abm7 - Db7/Abm7 - Db7/
    /Fm7- Bb7/Fm -B7/Abm7 - Db7/Abm7 - Db7/
    Which I interpret as majo keys - Eb and Gb.
    Jazz Standard Songs starting with: I | GuitarCats

  13. #13
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    A fun way to think of the first part of the tune when improvising is F-7 C7 F-7 and then Bb7 Eb7 Abmaj7 (which is a bluesier version of the standard II-V-I). And on the bridge F-7 and Db7 (try playing a lydian b7 scale over that one).

  14. #14
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    In Walked Bud - Harmonic Approach

    I’m still not sure how I like to solo over this tune best - will get back to you.

    However thinking:

    Fm E+ Fm7/Eb Fm6/D etc

    Opens up some possibilities for using the whole tone scale on the second chord - a sound that references both monk and Bud.

    I think the melody gives lots of nice ideas for soloing on this tune - most soloists seem to reference the cool answering line in the B for instance. It’s a tune that likes lots of quoting- but then Monk himself tended to play the song always in his solos.

  15. #15
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    In Walked Bud - Harmonic Approach

    The B section is one case where I DONT like 7#11 for the aug 6th/bVI7 chord. The melody of course has a natural 4 going to 3 there, so it feels wrong for the song.

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