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I toyed with that this evening. I kind of like how light the maj7 makes it sound, but I put a Dom 7 in there around bar 7-8.
It might be too noodly now.
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04-23-2024 11:21 PM
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^ I'm a fan of that spiky bluez.
Originally Posted by mr. beaumontLast edited by Bobby Timmons; 04-24-2024 at 12:58 AM.
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You should find plenty of work with piano, organ and vibes under your belt. Good trio gigs.
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^ Thx. There's a flute player's posting I'm going to reply to.
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Go for it!
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Tomorrow’s the big day. Bars ~5-8
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Here’s m5-8 … the lick over the Bbm/Eb7 is maybe my favorite in the whole tune. I love it.
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Where I think I like it, right now. We'll see.
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Originally Posted by mr. beaumont
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Originally Posted by AllanAllen
I like what you're doing with the upper octave, though I don't think my brain could retain two possibilities yet.
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Originally Posted by mr. beaumont
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Great study group. I appreciate all the discussions here around DL. Cool.
The fingering on m5 makes me always thinking about how to move on after the Bb (beat2) on the e-string.
Move to the right side, i.e. position 6 or to the left, position 3.
Position 6 has some closer fingerings.
Position 3 has the Bbm9 arpeggio on the (smarter sounding) strings 5-4-3.
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Here's my take on mm 5-8
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Nothing idiotic about that!
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A few observations on m5-8: I meant to say that the positions I chose rather than the fingerings are close to Jeff's. I'll often play in three-finger mode, especially on a blues but bop heads tend to be the exception.
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Originally Posted by pamosmusic
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Learned it by reading bar 8, then 7…. It was pretty pleasant that way.
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Originally Posted by AllanAllen
Is anyone else here the right age to be hearing the Cha Cha Slide voice saying that every time someone mentions learning the tune in reverse order now?
No?
Anyone?
…..
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So many wedding dances to that song.
Everybody clap your hands
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Originally Posted by mr. beaumont
I revised my fingering for the entire tune, tablature is in post #24 in this thread. Started to try incorporating Frank Gambale's picking techniques but picking all up strokes when going to descending strings feels really strange to me and I'm not convinced it will be an improvement - we'll see.
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Originally Posted by bluenote61
Sent from my iPhone using Tapatalk
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Originally Posted by Christian Miller
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Originally Posted by Christian Miller
Out with ye!
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Originally Posted by bluenote61
Things like slurring and harmonic context are super important. In bop phrasing rhythm and harmony go hand in hand. which all sounds more abstract than it is. I'm starting to think of it as 'harmonic fingering'
ill try an demonstrate what i mean more concretely when i get a chance. but a good one is enclosures of chord tones
Sent from my iPhone using TapatalkLast edited by Christian Miller; 04-26-2024 at 09:07 AM.
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