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#1010290 - 01/02/08 05:32 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
deeluk, thanks. It's done. But some of the links don't seem to be pointing to the correct item (like Circle of Fifths).

It's really great when everyone is taking ownership of this thread. This will be a nice long term reference.
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#1010291 - 01/02/08 07:40 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
 Quote:
Originally posted by jazzwee:
deeluk, thanks. It's done. But some of the links don't seem to be pointing to the correct item (like Circle of Fifths).[/b]
Yeah, that was one of the ones where I wasn't sure where the original reference was pointing. Was it to the circle diagram, or was it to your explanation that followed. I assumed the latter. If that's incorrect, please correct me.

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#1010292 - 01/02/08 07:43 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Errr, check that. That link is completely wrong. It's pointing to lesson 3. Here's what is should be:

Circle of fifths

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#1010293 - 01/02/08 07:51 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
All set thanks!
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#1010294 - 01/02/08 11:48 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
NON-LESSON[/b]

Not everything is about lessons. Since jazz is about listening, here are some jazz masters you can sample. These are three very unique individuals in jazz.


Brad Mehldau - Resignation
http://youtube.com/watch?v=Ahkl1ZpFtxU&feature=related

Brad Mehldau is a new type of jazz playing. Probably not sounding like anyone else in the past. Very heavy classical influence.


Lennie Tristano - Tangerine
http://www.youtube.com/watch?v=lGLpczTtnEM

Lennie is old school, and was quite a unique force in jazz. Listen to the way he plays with his straight eights and heavy accent. This is now the modern way that jazz artists swing. It appears that Lennie was way ahead of his time.

Chick Corea - On Green Dolphin St
http://youtube.com/watch?v=9NeIj1NwKvA&feature=related

This is a guy on top of the food chain. This dude doesn't swing legato. He swings detached. At blistering speeds. He hardly ever plays standards nowadays so this is a rare treat to his past. Very unique jazz player.

Enjoy.
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#1010295 - 01/03/08 02:29 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rintincop Offline
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Registered: 05/11/04
Posts: 1615
.
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#1010296 - 01/03/08 02:45 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rintincop Offline
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Registered: 05/11/04
Posts: 1615
.
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#1010297 - 01/03/08 11:03 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Serge88 Offline
500 Post Club Member

Registered: 08/27/06
Posts: 775
Loc: Canada
 Quote:
Originally posted by jazzwee:
Keyboardjungle based on your melody as shown in this link you passed to me,(thanks for passing this on BTW),
http://esvc001419.wic024u.server-web.com/articles/autsoc.gif

[/b]
Hi Jazzwee, any comment on that score sheet? the chords are different at the end, it use a half step down.

Could it be better than the one you gave us?

Serge
_________________________

“Being able to hear recorded music freed up loads of musicians that couldn't necessarily afford to learn to read or write music. With recording, it was emancipation for the people.”
-Keith Richards


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#1010298 - 01/03/08 11:47 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
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Registered: 04/25/07
Posts: 7116
Loc: So. California
I forgot to make a comment on that. Serge, just use our changes. That's the Bill Evans changes which are "Tritone Substitutes". In essence they are the same but Bill Evans made a substitution. Substitutions are common in jazz and as you get more advanced, you will naturally learn to convert to either form at will.

It this point in time though, it will be too advanced to solo through those changes as you will have to get into 'Altered' scales. So we'll leave that for later in the program. When I actually play Autumn Leaves, I do a lot of substitutions for a jazzy effect. But this is stuff I've actually been doing only recently. Substitutions affect your solo choices so you need to first know all the scale choices before we can get into that.

This is why, BTW, Autumn Leaves is an excellent learning platform because you can do all these substitutions to it and then you can apply it to any other ii-V-I based tune.

But very good spotting Serge. Let's me know you're on the ball
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#1010299 - 01/03/08 06:25 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
The Emperor Offline
Full Member

Registered: 11/22/06
Posts: 133
Loc: Lagos, Portugal
I learn this track the other day from an old instructional video of Talc Tolchin.

I play it with the root and 7th in the left hand and the right hand doing the melody and adding the rest of the chord notes(sometime adding octave of the 7th or the root as well), it's easy to learn and sounds nice.

Was my first jazz piece so to speak, i'm reading a mark levine book as we speak and getting more into jazz, it's pretty fun to just improvise over some basic II-V-I progressions.

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#1010300 - 01/03/08 06:39 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
stegerson Offline
Full Member

Registered: 09/12/07
Posts: 24
Loc: Springfield, Missouri
Jazzwee,

I've been following this thread with great interest. Thanks for taking the time.

Q: I have often read about the ii-V-I changes being common to jazz but three chord changes (an odd number) seem at odds with the pattern of four bars established in AL. I wonder if this is true in other jazz pieces? Is it common to add IV to this as in AL? I realize this is just going backwards in fourths.

Anyway, I just started working with this, lots of fun!
_________________________
No, I'm not a student of music, but I did stay at a Holiday Inn Express with a piano bar last night.
What I play: Mostly a Kawai ES4, sometimes on the Steger & Sons.

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#1010301 - 01/03/08 06:43 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
LaValse Offline
1000 Post Club Member

Registered: 02/21/07
Posts: 1225
Loc: Mumbles, Wales
My wife bought me a jazz piano book for xmas ( as well as a very nice Roland FP7 \:\) ) and I'd like to mention it because unlike any other books I have (including Levine) it starts, like jazzwee has, on rhythm and spends significant time on straight/swung 8ths etc with lots of clapping-type exercises. You don't play a single note of melody in chapter 1 and only a few in chapter 2.

http://www.amazon.co.uk/Jazz-Piano-Scratch-How-Students/dp/1860960154

It compliments jazzwee's approach nicely, is an ABRSM standard and has an unusually useful CD.

PS: is it just me, or is everybody else posessed/haunted by this tune - I was woken up in the night a few times by strong winds only to find Autumn Leaves playing through my mind, ditto in a meeting at the sailing club tonight... weirdly though there is always a double bass there as well...

I'm hooked...

\:\)
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#1010302 - 01/03/08 06:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jotur Online   blank
5000 Post Club Member

Registered: 09/16/06
Posts: 5659
Loc: Santa Fe, NM
 Quote:
Originally posted by LaValse:

PS: is it just me, or is everybody else posessed/haunted by this tune - I was woken up in the night a few times by strong winds only to find Autumn Leaves playing in my mind, ditto in a meeting at the sailing club tonight... weirdly though there is always a double bass there as well...

I'm hooked...

\:\) [/b]
Whew! It's not just me - it's driving me nuts \:D It comes in different rhythms as well as just a single note melody. Guess I'll know that part pretty well, anyway -

Cathy
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#1010303 - 01/03/08 08:44 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
bluekeys Offline
1000 Post Club Member

Registered: 11/11/07
Posts: 1337
I'm lovin' the vid links, but I gotta admit some of the technical discussion of swing rhythms is flying right over my head.

Anyway, here's my first shot at said swing rhythm. I just basically copied some of the earlier attempts in my own "style" (such as it is).

http://www.box.net/shared/tmvwgilc0s

I think I'm about 6 pages behind the curve, but my next step is to play around with the RH 3rds. I may do a midi of swing rhythm if I get a better handle on it, but that could be a while.

And yep, every morning I wake up with Autumn Leaves playing in my head too. At least now it's swinging a little bit. \:\)

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#1010304 - 01/03/08 08:44 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
 Quote:
Originally posted by stegerson:
Jazzwee,

I've been following this thread with great interest. Thanks for taking the time.

Q: I have often read about the ii-V-I changes being common to jazz but three chord changes (an odd number) seem at odds with the pattern of four bars established in AL. I wonder if this is true in other jazz pieces? Is it common to add IV to this as in AL? I realize this is just going backwards in fourths.

Anyway, I just started working with this, lots of fun! [/b]
Hi Stegerson, I believe we answer this already above. See the discussion on Scale Degrees. This piece follows two forms:

(1) Circle of Fifths - (3 sets of ii-V's, although not all V's are V7's). Look at Root movement only it will 4-7-3-6-2-5-1 (4th apart). Tune doesn't start on 4 however.
(2) It is also a Major ii-V-I connected to a minor ii-V-i connected by a IV.

FYI - Minor and Major ii-V-I's are two different things.
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#1010305 - 01/03/08 09:44 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
KeyboardJungle Offline
Full Member

Registered: 12/09/07
Posts: 52
Loc: Maryland
 Quote:
Originally posted by bluekeys:
Anyway, here's my first shot at said swing rhythm. [/b]
Hey Bluekeys, sounds great. This is the same left hand pattern that I was working on. Thanks for posting it.

I'd definitely toss a couple of bucks in your tip jar.

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#1010306 - 01/03/08 10:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
frog52 Offline
Full Member

Registered: 04/16/06
Posts: 65
Loc: Iowa
Jazzwee,

Awesome study group. I would like to join.

I have a question and a comment:

Question[/b]
  • I know you are trying to make us go back to a simpler LH, but please, pretty please, describe your LH syncopation in your first "swinged" version.
  • Was the LH coming in always on counts 1[/b] and 2&[/b]? Or were you sometimes doing 1&[/b] and 3[/b]?
  • My piano teacher (classical) said something about syncopating the LH every 1.5 beats (in 4/4), and it would be jazzy.


Comment[/b]
  • "Autumn Leaves" is actually a French melody "Les Feuilles Mortes" composed in 1945 by Joseph Kosma on a beautiful poem by Jacques Prevert.
  • Johny Mercer adapted it in 1945, and it became a Jazz standard.
  • Anyhow, the French version has an intro section that never seems to be played in Jazz, or heard in English versions. Our Jazz version is really only the chorus.
  • The "Autumn" Leaves are really "Dead" Leaves, and as the poem goes: dead leaves are picked up with a shovel, memories & regrets too(!)
  • I recommend you listen to Yves Montand singing it: http://www.youtube.com/watch?v=KqRSwcO38C4&feature=related


Voila,
Rod.

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#1010307 - 01/03/08 11:09 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
stegerson Offline
Full Member

Registered: 09/12/07
Posts: 24
Loc: Springfield, Missouri
 Quote:
(1) Circle of Fifths - (3 sets of ii-V's, although not all V's are V7's). Look at Root movement only it will 4-7-3-6-2-5-1 (4th apart). Tune doesn't start on 4 however.
O.K., I follow that completely so:

2 Am7
5 D7
1 Gmaj7
4 Cmaj7
7 F#m7b5
3 B7b9
6 Em7

 Quote:
(2) It is also a Major ii-V-I connected to a minor ii-V-i connected by a IV.
So the Major is G yielding the Am7|D7|Gmaj7,
the connector is Cmaj7, which is the IV and
the minor is E yielding F#m7b5|B7b9|Em7

 Quote:
FYI - Minor and Major ii-V-I's are two different things.
I think I know what that means. For example, the C and Am scales share the same notes so a ii-V-I in C would yield Dm|G|C but in Am it would be Bm|E|A, right? (he types with fingers crossed!)

Sorry to repeat what has already been covered. All of this is fascinating but also potentially confusing as there are many ways to describe the same idea.
_________________________
No, I'm not a student of music, but I did stay at a Holiday Inn Express with a piano bar last night.
What I play: Mostly a Kawai ES4, sometimes on the Steger & Sons.

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#1010308 - 01/03/08 11:28 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
stegerson Offline
Full Member

Registered: 09/12/07
Posts: 24
Loc: Springfield, Missouri
 Quote:
Originally posted by LaValse:
PS: is it just me, or is everybody else posessed/haunted by this tune - I was woken up in the night a few times by strong winds only to find Autumn Leaves playing through my mind, ditto in a meeting at the sailing club tonight... weirdly though there is always a double bass there as well...

I'm hooked...

\:\) [/b]
It's a great song. I've only heard it twice in my life. The first was an awful "easy listening/elevator music" version (while on hold) and the second, Bill Evans' jazz version. Actually make it three because Evans records two versions on the CD I own!
_________________________
No, I'm not a student of music, but I did stay at a Holiday Inn Express with a piano bar last night.
What I play: Mostly a Kawai ES4, sometimes on the Steger & Sons.

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#1010309 - 01/04/08 12:04 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Serge88 Offline
500 Post Club Member

Registered: 08/27/06
Posts: 775
Loc: Canada
Bluekeys, that's great.

Frog52, that is a interesting version from Yves Montand.

Serge
_________________________

“Being able to hear recorded music freed up loads of musicians that couldn't necessarily afford to learn to read or write music. With recording, it was emancipation for the people.”
-Keith Richards


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#1010310 - 01/04/08 01:19 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Great job Bluekeys! Sounded pretty good to me. Nice work.

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#1010311 - 01/04/08 01:37 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
Ok there's a lot of questions here so one at a time.

First of all Bluekeys, you are really getting it on the RH. That sounds great and actually has an original kind of sound to it. So leave the RH alone. That's pretty solid. Now on the LH, the rhythm has to be more solid.

Let me explain that in jazz, the LH is the rhythm section. So whatever pattern you play on the LH must really suggest the beat. This is pretty hard for a beginner so that's why I suggest use long half notes (i.e. played to full value) on the LH first so that the swing can be suggested by the RH. The RH and LH must be completely independent rhythmically. I would try that same version with a half notes and see if the swing is still suggested by the RH.

This is a very solid performance Bluekeys. You've got some jazz in you for sure
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#1010312 - 01/04/08 01:39 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
 Quote:
Originally posted by The Emperor:
I learn this track the other day from an old instructional video of Talc Tolchin.

I play it with the root and 7th in the left hand and the right hand doing the melody and adding the rest of the chord notes(sometime adding octave of the 7th or the root as well), it's easy to learn and sounds nice.

Was my first jazz piece so to speak, i'm reading a mark levine book as we speak and getting more into jazz, it's pretty fun to just improvise over some basic II-V-I progressions. [/b]
Emperor, welcome to our thread and hope you participate. Time to do solos then if you already know the tune.
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My Jazz Blog
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#1010313 - 01/04/08 01:48 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
 Quote:
Originally posted by LaValse:
I'd like to mention it because unlike any other books I have (including Levine) it starts, like jazzwee has, on rhythm and spends significant time on straight/swung 8ths etc with lots of clapping-type exercises. You don't play a single note of melody in chapter 1 and only a few in chapter 2.
\:\) [/b]
LaValse, I'd like to comment on your statement.

Please don't take my 'lessons as gold. I realize that various teachers have different approaches to teaching jazz. I'm passing along some real lessons that I've had over the years. Others may have different experiences with their teachers but I've had good results with mine.

Now just a little historical reference, one of my teachers spent a full year on just blues riffs and LH chords. The idea of playing cliche blues riffs was to get the swing feel and some vocabulary. What we're doing here is skipping the vocabulary (memorizing cliche riffs), and instead just focusing on the swing feel.

This is developed at the same time as a steady LH with a steady beat (non-swing) playing chords, or even walking bass patterns.

Hopefully, whatever you learn here, you keep practicing for a year or two while we keep piling on new stuff. Then later, you will be surprised at some really solid jazz playing resulting from this.

If you read this stuff closely and also watch the videos, you will go through a lot of discoveries. Please feel free to ask what someone is doing since you can always specify the video and say what's Tristano doing at 15 seconds (actually go to the Tristano video and watch what he does at 15 seconds, he changes style for a moment).
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#1010314 - 01/04/08 02:07 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
 Quote:
Originally posted by stegerson:
 Quote:
FYI - Minor and Major ii-V-I's are two different things.
I think I know what that means. For example, the C and Am scales share the same notes so a ii-V-I in C would yield Dm|G|C but in Am it would be Bm|E|A, right? (he types with fingers crossed!)

[/b]
Hi Stegerson, first let's clear up some terms.

As you know in music theory, any Major Key has a relative Minor key and both use the same scale. The minor key is in the 6th degree of the Major scale.

So in C, the relative minor is Am.
In G the relative minor is Em.

Expressed as a progression in the major scale, the sequence would be vii-iii-vi. Their intervals are exactly the same as ii-V-I. Fourths apart.

Remember the vii degree is a half diminished (minor 7 b5), and the iii is a minor. Except the iii chord (Bm7) doesn't create a dominant tonic relationship so the Bm7 is converted to B7 in Autumn Leaves.

Note that in the key of G, Em, there's no Db in the key (the 9th of B). So you play a B with a C (a half step away). That gives us the B7b9. Flat 9 is a half step interval. You can still play the b3 or really in this case it would be called #9 (which is D). So using the same scale you now have B7b9#9 which is pretty much the same as Bm7 except we focus on the b9 more. This kind of dominant is called an Altered dominant and is standard in a minor ii-V-i.

So in the end, a minor ii-V-i in Em is
F#m7b5 (Half Diminished) B7b9 (Altered Dominant) Em7 (Minor Seventh).

In Autumn Leaves, we can emphasize the presence of the minor ii-V-I vs. the major ii-V-I because the original composer, by calling it a B7 instead of Bm7, is telling us an intent. This has a big effect because in jazz, the scale played on each chord will be different once you get to a minor ii-V-i. These allow you to add color in note selection. In other words, it will justify us to use notes that are NOT in the 'G' scale.

In fact, the composer already uses this principle because the melody notes on the B7 use the Db and the Eb which are not in the G scale. How did the composer justify this? These notes are valid notes for altered dominant (B7b9)!

Let me stop here so you can proceed from this point or rehash anything unclear from what I said.
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#1010315 - 01/04/08 02:36 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
CHARLESTON RHYTHM[/b]

 Quote:
Originally posted by frog52:
Jazzwee,

Awesome study group. I would like to join.

I have a question and a comment:

Question[/b]
  • I know you are trying to make us go back to a simpler LH, but please, pretty please, describe your LH syncopation in your first "swinged" version.
  • Was the LH coming in always on counts 1[/b] and 2&[/b]? Or were you sometimes doing 1&[/b] and 3[/b]?
  • My piano teacher (classical) said something about syncopating the LH every 1.5 beats (in 4/4), and it would be jazzy.


Voila,
Rod. [/b]
Rod/Frog52, Welcome to the study group.

That's a tough question you asked because to be honest I don't know exactly what I was doing so I had to go back to the piano and start counting it out.

There were multiple things going on in my totally 'amateurish' version.

First of all, realize that I was solidly counting. You could probably hear my foot tapping. So I was intent on landing the melody on fixed points in the measure.

Second, as a stylistic thing, advanced comping on the LH (which I have not yet mastered), is typically done by putting the LH chords in empty areas, i.e. at times when there's no melody. This makes the melody stick out. My first LH 'stabbing' was done at '1+'. 'Leaves' was sung on beat 1 so it was half a beat later. Then I believed I stabbed again at 1.5 beats to land at beat 3, which was perfect for the pickup to the next line which started at 3+. So my intent was to stab where I had no melody.

By instinct I landed on 3+ which has an anticipatory effect and does sounds more swinging.

There's a reason for the 1.5 beats that I instinctively did. It's because the Charleston Rhythm, which is the source of the Jazz swing beat is based on
'Dotted Quarter Note + Eight Note'
or 1.5 beats + .5 beat.

In the old days, pre 1940's, jazz was played with this Rhythm on beat 1 so it will be on:
<1>+ 2<+> 3+ 4+ | <1>+ 2<+> 3+ 4+ |
Chord played on <>

If you have mastered the half notes on the LH, this is the next progression. To play the Charleston Rhythm. Again the chords briefly and lightly stabbed for better swing.

You could clap with your hands while you count loudly to get used to the rhythm.

My teacher made me constantly play a Charleston Rhythm on the LH. This will be the basis of more advanced LH comping later on.

I say my LH hasn't fully mastered comping because I wanted to stab extremely briefly (like staccato) and exactly on the correct beat. I felt like I was slightly off in time and this is because of an underdeveloped LH. So it's something I need to work on.

I have to say that I'm not that good on a Charleston Rhythm precisely because I don't have as good a technique on my LH compared to my right so I didn't want to record a version that was not perfectly correct in rhythm. Maybe Bluekeys can honor us with a MIDI version that's more accurate.
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#1010316 - 01/04/08 02:51 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rintincop Offline
1000 Post Club Member

Registered: 05/11/04
Posts: 1615
Jazzwee played his left hand chords stabs on the swung beats in the brackets:

1 <+> 2 + <3> + 4 <+>

In words, he played on the "+ of 1" on "3" and on the "+ of 4"

Note:
Musicians say the "+ of 1", not the "1 +"
_________________________
1966 Mason & Hamlin piano.

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#1010317 - 01/04/08 03:24 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Online   content
7000 Post Club Member

Registered: 04/25/07
Posts: 7116
Loc: So. California
 Quote:
Originally posted by rintincop:
Jazzwee played his left hand chords stabs on the swung beats in the brackets:

1 <+> 2 + <3> + 4 <+>

In words, he played on the "+ of 1" on "3" and on the "+ of 4"

Note:
Musicians say the "+ of 1", not the "1 +" [/b]
Yes, ritincop that's apparently what I did.

Thinking back as to why it's half a beat off from the Charleston, I think I was playing the melody intentionally ahead by half a beat. So it was the melody that was different. I picked this up from Jazz pianist Kenny Werner and just did it automatically.

I could have played it without being ahead of the beat. That recording was a single live pass so I didn't even think of how I was doing it. So I applied an advanced concept and didn't even know it \:D
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#1010318 - 01/04/08 04:04 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
The Emperor Offline
Full Member

Registered: 11/22/06
Posts: 133
Loc: Lagos, Portugal
 Quote:
Originally posted by jazzwee:
 Quote:
Originally posted by The Emperor:
I learn this track the other day from an old instructional video of Talc Tolchin.

I play it with the root and 7th in the left hand and the right hand doing the melody and adding the rest of the chord notes(sometime adding octave of the 7th or the root as well), it's easy to learn and sounds nice.

Was my first jazz piece so to speak, i'm reading a mark levine book as we speak and getting more into jazz, it's pretty fun to just improvise over some basic II-V-I progressions. [/b]
Emperor, welcome to our thread and hope you participate. Time to do solos then if you already know the tune. [/b]
Yeh i'm really getting into soloing this days, feels great, i will definetly try that ;\)

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#1010319 - 01/04/08 07:39 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Kangamangusuk Offline
Junior Member

Registered: 12/27/07
Posts: 18
Loc: East Yorkshire
Bluekeys, for someone supposedly 6 pages behind the curve, that sounds pretty good to me!

Jazzwee, I too am having problems with the RH swing. I can detect the sound from the masters in the vid clips, but actually putting it into practice on the keyboard is my difficulty. Have I correctly understood, the swing sound, we are all after, is created by accenting eighth notes on the offbeat (ie the plus of the beat helpfully explained by Rintincop)?

This is my amateurish attempt to create a midi comparison (not with the keyboard), using an up & down G scale. The first theoretically represents a heavier swing, the second 1:1 & the third, no swing. Do these sounds convey the differences, or is it 'barking up the wrong tree'?

http://www.box.net/shared/jkmt7x6gw4

Or, do you have any tips or practice routines for emulating the correct swing sound. When playing a scale from beat 1 & trying to accent the eighth note on the plus of each beat, I tend to lengthen the accented note. Should I start by playing the scale from 1+, instead of 1 for instance?

Sorry for the long message, but it would help, if I, & perhaps others, are put on the right track.

David

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