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Hey, calling yourself Maestro is a helluva way to go... or not go...
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12-26-2023 04:02 PM
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Originally Posted by ragman1
A few bottles of wine were opened and I settled in for a long winter's nap.
When I woke up, some asshole had made a mess of the kitchen and left a sink full of dishes
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Originally Posted by ragman1
I'm going to listen to yours now, what did you reharmonize?
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Originally Posted by mr. beaumont
Yours sounds like a much better idea. One year all my family had flu so I had beans on toast, went for a walk, read my book, and slept. It was great :-)
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Originally Posted by mr. beaumont
G7sus - G7b9 - CM7 - C69
CM7 - C69 - Dm7 - %
G7sus - G7b9 - CM7 - B7b-5/Bb7
EbM7 - Eb69 - Dm7 - Db7-5
Cm7 - Ab13 - Cm7 - Ab13
AbM7#11 - G7b9 - Cm7 - Fm7
Dm7 - % - G7sus - G7b9
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12-26-2023, 09:44 PM #31joelf GuestOriginally Posted by ragman1
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12-26-2023, 09:57 PM #32joelf GuestOriginally Posted by mr. beaumont
You've always had a pared down purity I really enjoy hearing. No filigree, none needed. 'Just the facts, ma'am'. That Martin sounds aces, too. I use a Seymour Duncan pickup with mine, but if I could get away with it I'd 'ride bareback'.
When I figure out how to with this damn complicated iPhone I'll post my version. It's a bit slower, with some darker chords from my Yiddishe soul and an ostinato bass. It's in E with the bridge in G.
In the meantime, once my tired ass gets a little rest I'll post the (yes, handwritten) arrangement for guitar and bass that I'm hoping to record with the redoubtable Richard Hill...
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Originally Posted by joelf
I love my Martin, but this is actually a cheap Yamaha nylon string...its a pretty cool guitar, a hybrid of sorts, 14 frets, narrower neck, decent electronics, but a shallower body that cuts into the acoustic output...im actually about to upgrade to a Yamaha nylon thats a bit more traditional...but I won't be getting rid of this one...
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Originally Posted by joelf
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ahhh..
YouTube says this is 9 years ago..
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12-27-2023, 05:11 AM #36joelf GuestOriginally Posted by mr. beaumont
And if you ever change I may have to book an Amtrak to the midwest and kick your ass...
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Originally Posted by ragman1
At any rate, it sounded nice rag...definitely one to keep around and get to know.
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Originally Posted by joelf
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12-27-2023, 01:26 PM #39joelf GuestOriginally Posted by mr. beaumont
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Originally Posted by joelf
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12-27-2023, 03:48 PM #41joelf Guest
So this is a handwritten chart. Note: this is not for solo guitar, but arranged for guitar/bass duo for an upcoming record date. I'll also make a clean copy for full band.
I changed a few of Ian's original notes and chords, added a bass ostinato and hits. And even after simplifying it it looks busier than it will sound b/c of having to fit the details into small 10-stave paper space. If anyone desires printing it out I recommend magnifying it to maybe 105-110%.
I used pretty skeletal harmony for openness. Some of the blowing is on the vamps.
(Not sure how to have the thing appear on the post w/o a link to the file. If anyone knows how do jump in)...
Edit: Also, p. friggin' 2 is f&&*$g upside down, and I have no clue how to correct it.
*Edit: Found a few booboos. 4th file is correct...
Last edited by joelf; 12-27-2023 at 08:20 PM.
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I'm late to the party, but here's Charlie Byrd's version:
And a version by one of my favorite players, Duke Levine:
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Originally Posted by mr. beaumont
The Ab13's were just a different flavor of Fm, with the Ab in the bass. Also they give a nice contrast to when the actual Fm comes in. You can hear it, it makes it a much stronger sound.
I hear what you say about the Ab7b5's but it might sound too samey with the AbM7#11 (AbM7b5) directly following it.
It depended when and what mood I was in when I was listening to it. Sometimes I thought the chromatic subs sounded lame, too obvious and unnecessary, just clever devices. Other times I thought they were okay. I think they went better with the soloing than the melody.
But thanks for your thoughts. I'm working on a deep and meaningful version at the mo. No subs this time and folksy-type backing in G, capo 5. It'll probably be quite nice.
Tell me about the reharm thing.
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Originally Posted by AndyV
I'd searched through YouTube looking for different versions and never saw them! Makes you wonder what else is lurking there
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Here's a more introspective version...
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12-28-2023, 10:23 AM #46joelf GuestOriginally Posted by joelf
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I think it looks cool Joel...will need to investigate on an actual computer...on my phone I can only read about two bars at a time!
How would you voice those E2 and Emaj7#5 chords?
I like the bass ostinato in a similar melodic rhythm to the opening vocal line...
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12-28-2023, 11:54 AM #48joelf GuestOriginally Posted by mr. beaumont
The idea is to keep the harmony to bare essentials so there are melodic soloing options.Plus it's a brooding, even sad song, so darker colors work for an instrumental. I tried to bring out what she was saying w/o the lyric.
E2=B, E, F#---top 3 strings.
E2# 5=E, C, F#---A string, 7th fret, D string, 10th, B string, 7th.
The wackiest one of the bunch: B7b9 sus add 3. I may have even made it up---I'm nuts enough. That one is: I try to get B on the bottom with my right hand sneaking in, 7th fret of Low E. The rest: E, A, C, D#---7th fret of A string, 7th of D, 5th of G, 4th of B. (With bass I needn't worry about the low B).
As Phil Woods would say 'very Jewish of me'...
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Originally Posted by joelf
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Originally Posted by joelf
Edit: Also, p. friggin' 2 is f&&*$g upside down, and I have no clue how to correct it.
Attachment 107415Last edited by ragman1; 12-28-2023 at 07:38 PM.
What's happening at the end of this song?
Today, 07:55 PM in Ear Training, Transcribing & Reading