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11-03-2021, 07:38 AM #51Dutchbopper GuestOriginally Posted by PMB
DB
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11-03-2021 07:38 AM
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Originally Posted by Christian Miller
When in doubt, the first question usually becomes; -Is there in fact a change of key? more than once perhaps? The composer decides if he wants to highlight a change of key in the score or not. Some of these old jazz-tunes were scribbled down on a paper napkin. Later they were incorporated in the Fake book and highlighting functional key changes were not a priority, rather generally avoided. Then people just assumes that the key is what it is because it says so in Real book.
Originally Posted by Christian Miller
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Christian wrote: Anyway, I'm not going to give anyone a chart based on triads
And yes, big band rehearsals have resumed, albeit with bell condoms for the horn players and masks for the rhythm section. It has been almost two years …
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Originally Posted by Dutchbopper
What kind of forum do you think this is?
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11-03-2021, 11:07 AM #55Dutchbopper GuestOriginally Posted by lawson-stone
Must resist playing .... must resist. Must type more ...
DB
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Originally Posted by PMB
Loving the grace note detail; a few little details I missed
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Originally Posted by PMB
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Originally Posted by Dutchbopper
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Originally Posted by pcjazz
They did a study about brass and wind instruments, and the most dangerous instrument in regards to COVID is the flute. The other instruments' air streams are uni-directional, but the flute's air stream is deflected multi-directionally by blowing at an angle and bouncing all over the place.
I wrote almost 30 charts for big band over the lock down, and got to hear two of them sight read by the band. One was an original, and the other an obscure tune that none of them knew. They made mistakes, didn't observe the dynamics, and the trumpets couldn't nail the high notes I wrote, so I took them down an octave today.
These guys are very good players, but no one's perfect. If I had to sight read the stuff I wrote, I'd fall on my face. It's difficult music to sight read at a pretty fast tempo. These guys can play Thad & Mel charts perfectly, but they've played that stuff a million times before. They've never seen or heard any of my stuff, so it's pure sight reading, and I've heard some of the best screw up in situations like that.
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Dynamics? You wrote dynamics for a big band?
There are two dynamics they will observe: ‘loud’ and ‘three pints later’
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Originally Posted by lawson-stone
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I find particular pleasure in picking up bop heads by ear even if do not play them a lot later
(same cocerns later original jazz pieces but often more about harmonic solutions, voicings)
But I find RB can be a nice source for playing conventional old song standards if one has a good ear and understanding of harmonic and melodic language to notice some - often not even wrong but awkward and clumsy things they there... I like open it in the middle sometimes and go through some unknown 30-40s tune from the chart
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Originally Posted by Christian Miller
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Originally Posted by sgcim
Originally Posted by sgcimLast edited by BigDaddyLoveHandles; 11-04-2021 at 11:43 AM.
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Originally Posted by Christian Miller
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Originally Posted by Christian Miller
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Originally Posted by BigDaddyLoveHandles
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I play with a kb player who has tablets that he hands out to the sidemen. He doesn't yet have the bluetooth control thing implemented. When he does, as I understand it, he controls what everybody sees.
That's perfect for a one page chart. For two pages, you can set them up side by side on screen. If you can read the smaller font, it works. If you need it bigger you're turning pages.
My book has lots of three page arrangements, some four pagers and one five. I have other long ones, but they get unmanageable on the music stand.
On screen, the page turns can be tricky, especially if the sign isn't in the usual place on page 1 after the intro.
In practice, what has happened at jams is that some people are on paper and others have tablets. The paper guys have the original RB, a later edition or a Sher book, and the charts are different. The tablet guys seem to have a different set of issues, with guys bluetoothing each other pdfs and trying to open them.
Back in the day, everybody had the same RB and we spend more time actually playing.
I imagine that we're in a transitional period and, sooner or later, it will standardize. Meanwhile, it's frustrating to count off a standard and have an immediate train wreck because the trumpet's chart has an intro the pianist doesn't have, or something.
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Originally Posted by rpjazzguitar
Amazon.com
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Originally Posted by BigDaddyLoveHandles
We need eye switch... you just wink and the page turns.
Only remember not to wink in between.
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Originally Posted by Christian Miller
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On the topic of Parker heads, has anyone checked this out? I haven't but I like that it includes all the counter-lines:
https://qpress.ca/product/60-melodie...rker-omnibook/
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Originally Posted by PMB
Yep bar 6. Listened again, it’s a split note and parkers on the higher. I am indeed following the trumpet line
my hat’s off. I award you all of the jazz points!
still playing the enclosure though, it’s what people play mostly I think
Jazz musicians - they never play the same thing once
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Originally Posted by PMB
Unlike the original Omnibook, Van Bebber’s charts have key signatures. The chord symbols are minimal, with few if any extensions. I don’t know that it contains all the counterlines; there is no indication of the trumpet line in BFA for example.
I compared the first 4 bars of BFA to PMB’s transcription in this thread.
Bar 1: PMB has FM7 which captures the E note; VB has F6 which doesn’t (there is no D in the bar). PMB shows an articulation at beat 3 which VB lacks.
Bar 2: PMB has Em7/A7b9; VB has Em7/A7. VB lacks both of the articulations in PMB.
Bar 3: On beat 2, where PMB has two eighth notes (F-D), VB has a triplet (F-G-C#).
Bar 4: PMB has Cm7/F7#5; VB has Cm7/F7. On beat 1, both show a triplet but VB doesn’t give a pitch for the top note (marking it ‘x’). On the last beat PMB has a triplet; VB has an eighth note and two sixteenths.Last edited by pcjazz; 11-05-2021 at 06:23 PM. Reason: Update
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As a reflection of bop practice I like simple chord symbols. I might treat that first chord for instance as F7, Fmaj7 or F6…. F6 is a nice, open choice.
But this is quite in opposition to the paradigm used in modern jazz education where the chord symbol reflects the melodic notes. I think this has advantages and disadvantages. When it comes down to it chord symbols are just a cheat really.
Elias Prinz -- young talent from Munich
Yesterday, 10:24 PM in The Players