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04-30-2024 09:55 PM
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Soloing on Donna Lee is the easy part
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Here we go for 9-14.
measures 13-14 are another candidate for favorite lick in Donna Lee.
(another quality thumbnail, by the way)
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Yep, which is why you should be able to work a bit of it in tandem. :P
I posted my rendition on page 5. Sorry, I can't participate with working it out on guitar because I'm a pianist. I guess I'm just cheerleading now.
Yep haha.Last edited by Jimmy Smith; 05-01-2024 at 12:53 AM.
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The melody of Donna Lee IS soloing material
Sent from my iPhone using Tapatalk
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Yes it is. Ideally combined with some fluency of the changes I would say.
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People practice scales and arpeggios don't they? Perhaps I'm naive.
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I had a repeated listen of Donna Lee this morning.
I hear a lot of players using a triplet for the opening notes, but my ears are telling it's not a triplet.
Answers please?
Or, does it not really matter.
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For the analysis of bar two (F7b9 going to Bb7), backdoor with raised one is too clever I think. It's just the good old F7b9 arpeggio going up from the third, down to the third of the target with #9 b9 1 7 -> 3 (with a pivot). Maybe I'm too simple.
It's probably the most (over)used bebop lick of all times. It's also one of the common guide tone patterns discussed in educational materials (Randy Vincent, Bert Ligon etc).
The exact same thing happens in bar 16 ( Eb7-> Ab). It's just the same arpeggio up from the third, down to the third of the target with the cliche b9 #9 trill. This time without pivoting. I think there is a slight mistake in the Eb7 arpeggio in the sheet. The arpeggio form the third repeats Bb instead of going up to Eb.
I find analyzing a line over Eb7 oriented to Eb7 easier than seeing it as a Gb7. Maybe this is another one of our parallel-derivative clashes, lol. Just putting it out there as an alternative analysis.
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Alright … on the topic of Donna Lee being vocabulary in its own right, here’s a bit on how I end up raiding stuff like this for ideas. Using m13-14 in this case:
For what it’s worth, this might be idiosyncratic, but I think comes from my tendency to think about chord tones (upper structures too) rather than about scales in a linear way. So it would probably (?) be a different approach from what Christian might come to from the more linear analysis.
(Yes, I did get 80% of my hair cut off between this video and the last)
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Yeah I mean that's not wrong. That's exactly how I describe in two of the videos I posted that I'm sure you watched lol.
The scale is the Ab7 to the third of F7.
Barry Harris was allergic to compound interval notation haha. I'm trying to think how exactly he would have described it...
It's probably the most (over)used bebop lick of all times. It's also one of the common guide tone patterns discussed in educational materials (Randy Vincent, Bert Ligon etc).
The exact same thing happens in bar 16 ( Eb7-> Ab). It's just the same arpeggio up from the third, down to the third of the target with the cliche b9 #9 trill. This time without pivoting. I think there is a slight mistake in the Eb7 arpeggio in the sheet. The arpeggio form the third repeats Bb instead of going up to Eb.
I find analyzing a line over Eb7 oriented to Eb7 easier than seeing it as a Gb7. Maybe this is another one of our parallel-derivative clashes, lol. Just putting it out there as an alternative analysis.
It took me a while. But the benefits have been worth it. There's a whole slew of things a bit like this lick that I just chunk into the Gb7 scale. It's not easier in the short term but if you have spent any time with the dominant scale there's instantly a million things you can play on a minor II V I with all the fancy added note rules and whatnot for no extra investment in practice time. Or any II V I for that matter. But for while it is a bit like converting Centigrade into Fahrenheit.
Not all licks of this type contain the third of the dominant either. Barry was quite into not using the third of the dominant in fact.
In the short term you can plug this lick into any dominant, and should. Immediately. Right Now.
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I'm trying to cut down, lol.
Oh I spent time playing family of dominants into each other. I just disagree that it provides a good insight into the way, for example, the bars 15- 16 back to top of Donna Lee works. In those bars you get as characteristic and unambiguous 7-3 voice leading right on the bar lines as you'll find in any jazz recording and Bach composition. The analysis buries the 7-3 movements inside the scales over the bar lines.
Thanks, but one of the things I worked very hard on was to internalize the fretboard so I don't have to think of licks in a derivative way. I can orient any lick to the chord of the moment. You don't lose anything (except practice hours). You can play the same ideas but your organization match what you hear and the harmony. It becomes a practice habit. I know you are working on the intervallic view. Maybe you'll come to like this view at some point (however brief that moment might be).Last edited by Tal_175; 05-01-2024 at 12:04 PM.
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So here's my mm1-14 played with the backing track at about 170. Still fumbling mm. 5-6 still but otherwise feeling pretty good about trying to advance the tempo a little more each day. Also, really loving the sound of the Seymour Duncan PhatCat pickup (P90 in Humbucker case) on the Epiphone Zephyr Regent re-issue through the Fender Tone Master Twin Reverb.
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Looks like Bird's first recording of the tune was in 1947 with Dizzy Gillespie and Lennie Tristano, I'd like to hear it!
Young Bird, Vol. 6: 1947 - Charlie Parker Album | AllMusic
Only found Lennie with Lee Konitz on YouTube:
High quality gig bag?
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