#76
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http://www.youtube.com/watch?v=6eQl5...fkIggc5FA_CdeA I took inspiration for the phrasing and voicing from Eva Cassidy, Stole an octave lick from Joe Pass, used a half whole scale ala Django, the rest of the ideas were my own..... /shameless self promo
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#77
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Aaron
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Finally put some music up on the web . . . |
#78
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I usually start with rubato and add the rhythm at least at some part of the song. You can see what I mean with Luis Bonfa's Morning of The Carnival.. I kind of take the same approach you did but not too long. It is like changing gear. http://www.youtube.com/watch?v=F2QUk4Jkqnw I don't consider my playing jazz at all but thread made me start learning more. I try the Autumn Leaves (=Still got the blues) |
#79
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Fabulous arrangement of MDC there. Steve
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#80
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"Seems we still need to see those flatted fifths, ninth's, eleventh's, etc as sourced from somewhere other than a PHD student's dissertation."
"Yup, it's called the harmonic series - a natural physical phenomenon of a vibrating string or air column. That's where all our notes come from." Strangely, that response sounds as if it came from some PHD student's dissertation. I believe my point has been missed. |
#81
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Okay...so here's leaves...just kinda went for it and painted myself into a few corners...tried to just be in the moment...OP, take a listen, and if there's parts you dig let me know the times...I'll post an "afterthought analysis" later...I did almost no thinking here, just a lot of hearing, seeing, reacting...which means there's some CLAAAAAMS
Anyway, enjoy, and like I said, I'll break it down too. https://www.youtube.com/watch?v=OBN4...e_gdata_player |
#82
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What training have you had? Are you self taught? Were you in jazz band back in high school? What inspired you to focus on jazz guitar? Anyway, thanks a ton for putting in the time to play Autumn Leaves and share the video. You've really gone above and beyond the call. Much appreciated. IG
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2006 Gibson Les Paul Std 2011 Ron Kirn Strat Style 2011 Taylor 714c 2014 Shippey Oval Hole Mandolin 2016 Martin HD28. Schertler Jam 150 amp. Neumann TLM 102 mic. |
#83
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Hey, Geo, thanks...
actually, I lose the form a few times and a lot of the playing is slop! Still getting used to "pickless" playing. So, my background...started playing at 12...rock stuff...took lessons for 6 years...did a little classical. Took theory classes in college, played in pit bands for musicals...jazz training mostly on my own, with a great mentor, who wasn't a guitar player, but a piano player. Ran the studio where I teach lessons two days a week...I'm a full time high school art teacher, and I run the school's small jazz/r&b/gospel band. Most of the jazz stuff I know I learned "on the job," sink or swim type stuff. I read music pretty well, but do a lot by ear. This tune...pretty straightforward...a mostly diatonic tune...kind of. I'm playing it in E minor...it's also common to hear in Gm. The original and gypsy jazz key is Em. Gm is more the standard for boppers. Gotta know both. Generally, I'm using diatonic extensions on the non-dominant chords...the Em can be an Em7, 9, 11...same for the Am. The beginning suggests more of a G major sound, so I use the #11 on the Cmaj when it pops up (always cool on a IV chord). The B7 chord is the fun one in this tune...most charts will say B7b9...any time I see an altered 9th, I try all other alterations too...b5, #5 (b13), and #9 too...chances are, they sound good too...really opens up options. here, I'm using mostly arpeggios and chromatic passing tones. On that B7 I use both harmonic minor and melodic minor ideas-- both from E...but instead of visualizing a melodic minor scale I really see a B7b13 chord... that's a start...feel free to ask about specific stuff...I'll try to figure out what I did |
#84
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I answered that they come from real world physics, (just like octaves, 3rds 5ths and 7ths do). There is nothing inherently special about "flatted fifths, ninth's, eleventh's, etc." It's just that jazz players tend to make use of them more than most other styles (at least since the 1940's). I don't have a PHD, but I do have a music degree. Aaron
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Finally put some music up on the web . . . Last edited by trion12; 09-14-2013 at 08:24 PM. |
#85
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They also come from simple extended harmony and basic voice leading.
just sayin. If we make jazz a mystery, it remains one. But it's pretty concrete. |
#86
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http://www.youtube.com/watch?v=zBeHQtJm5UI Quote:
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I'm reminded of the character Coalhouse Walker in EL Doctorow's historical novel "Ragtime." He is a proficient, classically schooled pianist who can sightread anything, but pretends not to read music because white people don't want to believe that black people can understand music that way. There is a good kernel of truth in this.
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"Still a man hears what he wants to hear, and disregards the rest." --Paul Simon Last edited by Howard Klepper; 09-17-2013 at 07:31 PM. |
#87
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On what do you base your reply? These are Miles' own words. They are on the liner notes for kind of blue version I have. Miles said (slightly paraphrasing): Kids keep coming to me with these crazy charts and complex progressions - I'm not into that I just wanna play. Miles did feel inferior asking other players how they played so fast. Whether or not he should have felt inferior is open to debate of course. Check the facts before commenting. Steve
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#88
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"I don't have a PHD, but I do have a music degree."
And during your education they did not explain how "The Devil's Note" or "Devil's Interval" came to be banned from liturgical music? Of course mathematics - not physics per se - dictates how musical notes are defined - not created. The existence of, say, a "C" note is a manmade creation as defined in the Western world dating back (mostly) to the Greeks. The note between a "C" and a "D" has been mathematically defined by the frequency of vibrations per second which we experience at our ear drum. Under perfect circumstances the wriggling of our ear drum is in unison with the number of sinewaves which compress and rarefy the air in response to a string being struck, plucked, bowed or a formed tube being excited by our breath or even a percussive surface being excited into movement. We can measure those vibrations and declare a signal to be "this" musical note, or "that" musical note - but we have no such definition for those "none of the above" frequencies which exist between "this" note and "that" note. It is the "none of the above" which I was referring to when I said, " ... we still need to see those flatted fifths, ninth's, eleventh's, etc as sourced from somewhere other than a PHD student's dissertation." Where did the Devil's Note come from? Where else? The Church. Those notes which create an emotive response, not a mathematical equation, in our perceptions are what the Devil's Note was all about. We, as humans, respond not to the mathematics of the signal but to the context of the musical note which comes now, and now and now ... The emotional connection to these auditory inputs are so strong, the Church felt it necessary to delete it from existence. Which, of course, is impossible. As I understand the history of blues and jazz, the musical styles are most commonly associated with and grew from the slave history of the US. African slaves unfamiliar with Western style music were denied the use of musical instruments since it was assumed the "odd sounding" music they created would be used as a subversive tool which might overthrow their "owners". Left largely with only their voices, the slaves sang songs which came from somewhere other than Western music. Whoops, hollers and yells, done in call and response were common to this language. Polyphonic rhythms were employed which, when combined with the notes not found in Western music, formed the strange "blue notes" which caught Mr. Handy's Western educated ear on that train platform. Specifically, what attracted Mr Handy's attention was the slide guitar technique being used by the player. Many "authorities" feel the slide guitar (with its origins in mostly Pacific nation traditions) is the closest Western instrument to the human voice due to its ability to create notes which are the "none of the above" frequencies which are the essence of blues, ragtime and jazz music. Listening to the historic recordings of early blues/jazz artists provides an excellent example of notes which have no definition in traditional Western music. Neither sharped nor flatted but not "natural", they are the Devil's Note/Blue Note we accept as the basis for the blues scale. Yet they are more than that and they are not a single musical note nor a single frequency. They are those notes in between which, when Mr. Lomax first brought his original field recordings to the general public, stirred a frenetic response in music educators and critics to explain what they were hearing. Blues and Jazz existed long before some college professor or music critic called it either name. To ultimately understand blues or jazz, you must begin long before the names were stuck to them by Western educated ears. To my knowledge - and I stand to be corrected here - there is no agreed upon definition of the individual notes which have made a music originating in other than Western voices as either "this" or "that". They are simply "none of the above". Unable to be reached by most fretted, stopped or beaten instruments found in traditional Western music, they are the creation of the performer seeking to emulate the emotional effects of field hollers and whoops originating in a voice unfamiliar with Western music's mathematical restrictions. At least, that's the story I have grown up with. I'd say though, every time that story was related to me, the qualifier was added, "This is the best I can explain it ... " Last edited by JanVigne; 09-18-2013 at 05:39 PM. |
#89
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I am with Howard on this one
Miles definitely was a bebop guy in the mid-late 1940s. As I recall, I think he replaced Dizzy in the Parker Quintet. I used to have some old Norman Granz LPs where he definitely was playing bebop.
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#90
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Miles was once quoted in the Jazz Review in the late 50's as saying that he thought chordal complexity was getting "too thick" and that guys gave him charts and "I can't play them." I think he meant he was disgusted by them. I've never seen anyplace where he was quoted as saying that bebop was too fast for him to play, or that he felt inferior to anybody. But as I say, quote me Miles, as you say in his own words, saying he felt inferior or that he couldn't play fast bebop and I will apologize. Sources required, not just your paraphrase. If you can't, well . . .
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"Still a man hears what he wants to hear, and disregards the rest." --Paul Simon Last edited by Howard Klepper; 09-18-2013 at 06:45 PM. |