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#1010890 - 02/09/08 08:20 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
Jazzwee - I do have a question on your example for the F#m7b5 chord.

F# G G# A -- I'm assuming it is OK now to play the 9th (G#) on a downbeat. (previously, you wanted only 1,3,5,7 on downbeats.)


F# G G# A A# B C -- on this one, I'm seeing A# on beat 3. This is OK to do now?

G# A A# B C -- If I start G# as an upbeat approach note, I land on B at beat 2. If I start G# as beat 1, then A# is on beat 2.

(Going down)
A G# G F# E -- G is on beat 2

I'm anxious to get started using chromatics, but I won't start until I hear from you. ;\)
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#1010891 - 02/09/08 08:23 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
deeluk - I heard those upbeat accents. Nice progress there
_________________________
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"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com

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#1010892 - 02/09/08 09:05 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
 Quote:
Originally posted by Babs1:
I was afraid once it was discovered that I like classical, new age, blues and jazz that I would be considered "weird" and be given a 1. \:D [/b]
Sorry to tell you Babs, but since you've already posted here, you are now officially considered "weird". You might as well join us. \:D There is really no race to keep up with anyone. We are all plodding along on our own pace.
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#1010893 - 02/09/08 10:40 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Guess I did totally forget about the chromatic ideas you gave us a while back. I will definitely work that into my practice. I've been feeling very repetitive lately. This will spice things up for sure. I'll try more eighth runs too. I did try to make one of the runs span 2 octaves in my last post. I think I may have even ended up close to the right spot when I stopped to breathe. I need to work more on downward runs as those don't seem to come out as smooth as upward for some reason. This is so much fun!

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#1010894 - 02/09/08 10:45 AM 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, nice note choices! Try to put more eighth note chunks in there as your project. It really sounds good when I hear a series of eighths. I can see the great progress there. It's really coming together.

It may be time for another lesson and that's to expand your note choices using Chord/Scales. It might help when noodling as there are more notes available than what's in the G major scale or G major bebop scale. [/b]
Like Gm pentatonic? G blues? E blues? Or do we go modal? I am curious what the next step is...

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#1010895 - 02/09/08 10:49 AM 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 rosa2007:
(I don't dare to ask for the midi for 'you must sleep'). [/b]
Ha, lucky I didn't see this last night. You would have had me up late again. No worries. I can post it again if you like. But first, I have to go to a "Littlest Pet Shop" thing.

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#1010896 - 02/09/08 11:08 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Hi Guys, the reason for my chromatic examples is that the scale for F#m7b5 actually includes G# and the scale for B7b9 also includes G#. When you're playing on some of these 'special chords', there's more room to manuever as there's not a real chord tone on these scales.

This is why AL is interesting because the Major ii-V-I (Am7-D7-GMaj) is more susceptible to standard chord tones but F#m7b5-B7b9 is a minor ii-V and uses ALTERED tones.

I will get into all this shortly. But many of examples start on a real chord tone as you are familiar with and a short little chromatic run of 2 to 4 notes should still keep you in synch most of the time, and you can combine them with the other moves like arpeggios and such.

Rosa, yes you can approach not just my example but any chord tone with a chromatic neighbor tone with a pickup from above or below.

Anyway, chord/scales will be mind boggling and you will discover new sounds. It's good to have gotten used to the G Scale for the entire AL.

Now you will discover that the G Scale actually includes several WRONG notes...
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#1010897 - 02/09/08 12:13 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
keystring Online   content
Yikes! 10000 Post Club Member

Registered: 12/11/07
Posts: 11558
Loc: Canada
Just thought I'd drop in. I had a computer meltdown - total hard drive failure - so I've found the info two kind souls gave me a while back, plonked it into the computer my son has passed on to me. I'm happy to say that the algebra doesn't look like algebra anymore and I'm starting to understand what people are talking about. Still lurking. At the moment I cannot scan, listen, or record until somebody in the household figures out this computer for me.

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#1010898 - 02/09/08 12:34 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Always good to see you drop by Keystring
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#1010899 - 02/09/08 12:54 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Lesson 12 - Solo - What to Play on a Maj7 Chord[/b]

I thought about just listing each chord and all the appropriate scales to play on each but I thought this would look like Algebra. So we're going to keep it simple by discussing this by chord type. I'll post a tidbit at a time because it can be a rather long discussion.


Major 7 chords typically function as the I chord (as Gmaj7 in AL), or the IV chord (CMaj7 in AL). Since these chords are scale degrees (I and IV respectively) of the G Major scale, it would seem logical that the scale to use would be the notes of this scale.

G A B C D E F#
1 2 3 4 5 6 7

But as it turns out, something doesn't sound good. The Note C (4 of the scale), is dissonant against the GMaj7. Just like F (4 of C scale for CMaj7) is also dissonant.

So the rule is, do not play the 4 of the Maj7 chord except as a passing tone. Never on a downbeat. This is called an avoid note.

Instead of the 4, in Maj7 chords functioning as a I or a IV, you can instead play the +11 (which is the same thing as +4, see notes in italics below). In GMaj7, this is the C# and in C Maj 7 it is F#. Fortunately F# is already in the G scale so this is already an available tone for CMaj7 in the past discussions. However, the C# on a Gmaj7 would be a new sound.

This +11 sound is referred to as 'Lydian' in reference to the Lydian mode. So as your first modification to the pool of notes in AL, feel free to add C# to GMaj7. Or in general, to add the +11 when playing a Maj7 chord, and avoiding the 4 or 11 of the chord.

So our modified scale for GMaj7 in AL is now

(G Lydian Scale)
G A B C#[/b] D E F#
1 9 3 +11 5 13 7

CMaj7 continues to use the same scale as before

(G Major Scale Starting from C)
C D E F#[/b] G A B
1 9 3 +11 5 13 7

This is also referred to as the C Lydian Scale.

So in both cases, we have sharpened to 11 or 4 of each chord.

For purposes of using standardized lingo matching jazz texts, sharpened notes will be referred to with a + instead of a #. So sharp 11 will be +11 instead of #11
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#1010900 - 02/09/08 02:07 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
Hi Jazzwee and fellow jazzmates,

I tackled Chromatics today. I tried to keep that in my brain along with remembering to do even eighth notes while accenting the "and", leaving some space between phrases, and cutting those ending eighth notes short.

So, all this is in my brain, and I have to sound 'RELAXED" as I play!

Oh well, here I am again asking poor overworked Jazzwee to take a listen and offer advice.

http://www.box.net/shared/8u4ijrukgo
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#1010901 - 02/09/08 02:18 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Nice work Barb. I think you accomplished everything you set out to do there!

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#1010902 - 02/09/08 03:27 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Alene Offline
Full Member

Registered: 09/03/05
Posts: 78
Loc: Oregon
\:\) Deeluk and Barb: Terrific! Both of you are making progress in leaps and bounds...Good for you!

I'm off to practice some more!

Alene

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#1010903 - 02/09/08 04:26 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Here's a MIDI version of my last solo:

http://www.box.net/shared/3l479v60wc

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#1010904 - 02/09/08 04:48 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
bluekeys Offline
1000 Post Club Member

Registered: 11/11/07
Posts: 1337
Deeluk and Barb-- I just dropped in and listened to your solos. Startin' to sound sweet. I'm curious tho, are you both just comping the RH and letting backing tracks or BIAB do the rest? Would you at some point add the LH back in? And if so, doing what? 1/7s?

A lot of q's, I know, but I'm only giving AL a few minutes every few days, so it's hard to keep up.

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#1010905 - 02/09/08 05:52 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
Hi bluekeys - For soloing, it's RH only for now. There's just too much to think about. I've tried hands together once and it doesn't work at all yet.

When I'm ready, I'll add those LH shells of 1/7, 1/3 ... jab them in at the right times. (That's another hurdle, I guess)

Looking forward to you joining us here. We are having a blast.
_________________________
A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com

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#1010906 - 02/09/08 06:26 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Very nicely done Barb! Grade A! I can see all the elements in there. Accenting, chord tones, chromatics, space, short eighth endings, a little laid back.

So stick to this, it's working well. For now just build up your speed so you can do the same thing at a slightly higher tempo. A little at a time of course.

Looks like you're in time for the next series of lessons.
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#1010907 - 02/09/08 06:31 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Bluekeys, it'a too much to think of RH soloing with LH Charleston. So either do shells with whole notes, or have no LH. Shells are good to remind the RH of what chord you're on though.

Eventually these two separate exercises will meet and comping can be natural, but as long as both are practiced, there's no particular rush to combine them. In fact, it's not a bad idea for those doing recordings to add comping separately to your solo as another track for that practice.

Do not think of doing LH/RH combined as a priority at this stage. Ths priority is to learn how to solo and you can see that pretty much everyone that has started in the last 2-3 weeks have already shown massive improvement.

I think it's moving a little faster because each person is getting immediate feedback. No need to wait a week for the next teacher's lesson.
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#1010908 - 02/09/08 06:43 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Still RH only soloing for me too. I try every once in a while to add the LH, but it still doesn't work. The recordings I've been posting have prepared drum and bass tracks. Then, I added a 2+3 chord track when we were learning that. Since then, I've also added some rootless comping chords to another track. And of course, I have a melody track.

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#1010909 - 02/09/08 07:12 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Lesson 13 - Solo - What to Play on a Dominant7 Chord[/b]

In Jazz, one of the more important chords that provide that Jazz sound are the dominant chords which are the chords that provide the TENSION to a progression. HIGHER TENSION gives a feeling of more satisfaction when RELEASED on the tonic chord. It is the contrast between TENSION and RELEASE that defines Jazz IMHO.

It is quite common in Jazz to reharmonize a lot of standards by changing some chords to Dominant 7's. This gives more opportunity for even more tension than was available in the original tune. Altering dominants means adding tones to the 1,3,5,b7 of the dominant chord which are not in the scale. Examples of alterations to dominants are b9,+9,+11,b13. Altering dominants is something we will discuss more fully later.

Instead of altering the dominants, the other approach to increase tension in the chord is to play a solo underneath the dominant chord that implies a completely different chord. This raises the dissonance level and increases the tensions. However, since dominants are already tense by nature and already contains a dissonant TRITONE interval (3 to b7), playing notes not in the scale of the original unaltered dominant (D7 in AL), just raises the tension a little bit and does not sound dissonant to modern jazz listeners.

For this approach (raising the tension by playing non-scale notes), one can play different scales against the dominant 7 chord, with each scale having a different effect.

In AL, the Dominant 7 chord we will discuss for now is the D7 (which is a V of the G Major Scale). What we have learned to play against the D7 is the G Major Scale starting from D. The regular scale characterized by a b7 is called a Mixolydian Mode.

(D Mixolydian)
D E F# G A B C
1 9 3 11 5 13 b7

Nothing new here so far because this is what everyone has been using. Now I will introduce other scales you can play against the D7. I will bold the altered tones in each scale that you'll need to pay attention to.

1. Half-Whole Diminished Scale[/b]

You can imply a D7b9 chord over a regular D7 chord by playing a Half-Whole Diminished Scale against the chord. A Half-Whole Diminished scale is a scale made up of alternative Half and Whole step intervals starting from the root. It is an eight note scale. This is a very interesting sound and any note in this scale is valid against the D7 and there's no specific chord tone to worry about. They can all work. Thus any note in this scale can be played on the downbeat or upbeat.

(D Half-Whole Diminished Scale)
D D#[/b] F[/b] F# G#[/b] A B C
1 b9 +9 3 +11 5 13 b7

Another way of describing this scale is that it is a regular diminished scale starting a half step above the root of the chord.

Diminished scales have special functions in jazz. There are only THREE diminished scales so by learning this particular scale, you already know 1/3 of the possible options.

2. Whole Tone Scale[/b]

The second scale you can use against a D7 is the Whole Tone Scale. This scale is used a lot by Theolonius Monk. It is not entirely dissonant sounding other than for two notes, the G# and A#. The whole tone scale is only made up of six notes. Because there's such a small pool of notes to choose from here, this can be overused and is much to recognizable when played as a scale.

(D Whole Tone Scale)
D E F# G#[/b] A#[/b] C
1 9 3 +11 b13 b7

3. Altered Scale[/b]

The third new scale you can play over D7 is the altered scale. Or also known as Diminished Whole-Tone. It is called this because it appears like a combination of the above two scales. The first tritone interval of the scale is the same as the Half-Whole Diminished, and the latter half looks like the Whole Tone Scale.

Altered Scale[/b]
D D#[/b] F[/b] F# G#[/b] A#[/b] C
1 b9 +9 3 +11 b13 b7

Notice that this has the most dissonant tones among all the scales. When Playing the altered scale over the dominant seventh chord, you are completely implying a different chord which in this case is Ab7 (the Tritone Substitute).


SUMMARY

This is a lot to take in all at once. The easy practice is to start investigating the Half-Whole Diminished Scale first. There's only 3 scales like this so it's easy to imply to any dominants.

And using this scale first against the D7 has a side benefit: this is the same exact scale we would need to use for the B7b9, another AL Dominant 7 chord (which is already altered with a b9). We will discuss the B7b9 separately but feel free to use the same scales on it as presented here.

Pretty much every tone has been included as a possible note to use against a D7. The only exception is the maj7 interval from D which is C#. This is not used as this implies a tonic chord. So this is an avoid note on downbeats and should only be played as a passing tone (such as in the Bebop scale).
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#1010910 - 02/09/08 08:41 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
Jazzwee - thank you for the feedback. I agree - building up speed is my next hurdle.

Lesson 13 - WOW! That will keep us all busy and out of trouble for a while.

for all your help.
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"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com

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#1010911 - 02/09/08 11:04 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
Well....cheers to our WEIRDO GANG!!! LOL!!!

Didn't know playing jazz will turn me into a weirdo....so weirdos we are. (Is there such a word???)

Look what jazz is turning me into 10+ from us so forget about the stars.

Deeluk and Barb...both of you are growing by leaps and bounds. Can't keep up with you guys. Thanks Deeluk for the midi. Hint Hint: next time, post your midis along so I can LEARN FROM YOU. \:\) I don't want to cut into your 'must sleeping' time. When You sleep I get up, when you get up, I go to sleep. We work on different hours.

And Barb, just curious -- how many hours do you practise a day?

Rosa \:\)

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#1010912 - 02/10/08 01:19 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Lesson 14 - Solo - What to Play on a Minor ii-V-i[/b]

AL is based on a Major ii-V-I and a Minor ii-V-i. A minor ii-V-i follows a fairly straightforward scale based on the assumption that the chord progression is:

IIm7b5 V7b9 Im7

This could also appear or be played as

IIm7b5 V7Alt Im6

So in AL the Minor ii-V-i is:

F#m7b5 B7b9 Em7
or
F#m7b5 B7Alt Em6

However you voice the chord has an impact on the scale to be used. Here are the appropriate scales and the bolded notes are the deviations from the regular Major Scale they belong to (G Major Scale in AL).

Half Diminished Chords (minor 7 b5)[/b]

So in the case of AL this is F#m7b5 and the scale used is the Diminished Whole Tone.

F# Half Diminished Scale[/b](AKA Locrian #2 Scale)

F# G#[/b] A B C D E
1 9 #9 11 #11 b13 b7

This is pretty straightforward but note that the G is not played in the scale. That is an avoid note. In AL so far we have been playing G on the F#m7b5. Now we will ween you away from that G in favor of G#.

Dominant 7b9 or 7Alt Chords[/b]

In AL this is the B7b9 or B7Alt.

For B7b9, one will play the half-whole diminished.

B C D D#[/b] F[/b] F# G#[/b] A
1 b9 +9 3 +11 5 13 b7

Or the ALT Scale for B7Alt

B C D D#[/b] F[/b] G A
1 b9 +9 3 +11 b13 b7

Minor 6 Chords[/b]

The tonic of a minor ii-V-i, which is Em7 in AL can also be played as Em6. The scale for Em7 is the same as the G Major scale since Em is the relative minor. So it is the same scale starting at E.

E F# G A B C D

But instead of a b6 found above, an Em6 would have the 6 which is C#. So here's a variation on Em6.

E F# G A B C#[/b] D
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#1010913 - 02/10/08 01:49 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Summary to Lesson 12,13,14[/b]

Examine all the bolded notes in the last three lessons and remember to apply them in AL.

It is not required that one apply high tension/altered scales to all Dominant 7 chords. For AL, you could stick with the standard G Major Scale for the D7. However, notice I did not provide any alternatives to playing a minor ii-V-I.

Although it is possible to play a minor ii-V-I with just a normal G Major scale as we have been doing, at the very least, you will have to avoid the following notes:

F#m7b5 - Do not play the G
B7b9 - Do not Play the E and add the D# (which we said is the third and was important since Day 1).

What this series of lessons do is expose you to the possibility of more note choices than ever before. You can experiment with some new sounds, some of them quite cool and unexpected. This is the kind of stuff that people heard from John Coltrane and players that followed.

The older bebop players usually played diatonically and did not alter the scales. However, they did substitute chords instead (such as using the Tritone substitute), which in effect creates an ALT sound.

Bill Evans did not specifically follow these scales either but arrived at some similar sounds by using chromatic neighbor tones/grace notes. However, just yesterday, I transcribed a portion of the Bill Evans solo in his version of AL and I was surprised to find him using the G# and A# over a ii-V-I. This would only be found in the Whole Tone Scale I believe. Or the other explanation is that they are on the offbeat so he could justify any passing tone.

Whatever the explanation, being aware of these notes is exciting.

Later on in everyone's development, I would recommend learning how to construct these scales for any chord. This can come later and we need not delve into it further than this.

Notice my minimal usage of the term MODES and the more complex explanations that usually accompany these scales. That is not critical right now. Over time one could reconstruct these scales just by remembering the INTERVALS of the altered notes in relation to the root of the chord.

This is cool stuff. When I first learned this, I had to sit on the piano and begin experimenting. I expect you guys would have that same urge.
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#1010914 - 02/10/08 08:09 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
 Quote:
Originally posted by rosa2007:

And Barb, just curious -- how many hours do you practise a day?Rosa \:\) [/b]
Rosa - For the past 2 years, learning piano has been my full time job - which means I'm at it most of the day. I practice my Sudnow rep of 40 songs for half the time, the other half spent on learning jazz and learning to comp.

I was glad to see the Half/Whole Dim scale in lesson 13. I practiced those diminished scales for many months last year in preparation for going to the Aebersold Jazz camp.

I can honestly say I have learned more in these few weeks with Jazzwee than all my months trying to learn this stuff last year. I never did quite understand how to do that jazz phrasing of straight eighths while accenting the off beats until Jazzee hit me over the head with it.

TO ALL - These scales take lots of slow practice ...time worth spent!
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To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com

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#1010915 - 02/10/08 09:07 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
Jazzwee - You have given me a gift with that Half Whole Dim scale. Since I already knew the scale, I was able to incorporate it right away. When I used this scale in this solo, I didn't have to think about notes for a full measure. I concentrated on phrasing - so my brain thanks you.

Since I used the Half Whole Dim scale a lot in this solo (perhaps overused it?) I was able to increase the speed up to 130 bmp. Previously, I had been sticking to 110 due to brain overload ;\)

As always, feedback much appreciated :3hearts:

http://www.box.net/shared/ixxhmgvswg
_________________________
A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com

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#1010916 - 02/10/08 09:31 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
Well, this morning I just stopped by and 'barked' a bit but didn't get to study the lessons yet.

Then I come back in a few hours, and saw these lessons 12, 13 and 14 waiting for me. WOW, Jazzwee, you are such a great teacher and made all those 'hard to understand' jazz theories easy for me to absorb here. And you even provided a 'summary' for us -- where do we find such good teachers.

We are here a lucky bunch!!!

I am not overwhelmed but EAGER to get on to put them into my fingers.

Rosa \:\)

Barb, you are fast...listening to your recording again... you learn at super speed but you are a FULL TIME student here. Give me some of your time, will ya? I need 48 hours a day.

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#1010917 - 02/10/08 12:16 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
That's excellent work Barb!

It won't be long when you'll have to help me teach others here. I will run out of specific things to teach you. You have come a long way here.

It was even hard to find problems with your solo so I will give you items to think about but just realize this required a fine tooth comb to pick out.

1. You tended to start your lines at 1+. Vary that some by waiting for the chord to go by and starting the line at 3+ or 4+.

2. Incorporate the new correct scale for F#m7b5
F# G# A B C D E.

3. Increase the contrast between the downbeat and upbeat by maybe softening the downbeat some more. I just want to see if you can do it. Later on you'll pick an accenting style that suits you but we have to make sure you have the technical facility to execute all variations.

4. Find non-linear/non-scalar way to play a Half-Whole Diminished (maybe by repeating some notes or skipping a step on occasion).

5. Practice swing on scales so get into the groove more. This means more accuracy on time and the ability to play on top of the beat or slightly behind.

6. Phrasing -- this is more of a vocabulary issue. As you listen to jazz everyday, pick out the rhythmic construction of the phrases. And the general shape as the lines go up and down. Then start incorporating this phrasing into your solo. I believe Aebersold has several phrasing examples on his website too. There are cliche ways of phrasing which makes jazz sound like jazz. Cliche being an actual good thing. Learning all these cliches is called learning the vocabulary. There are certain cliches that are so popular that they are identifiable, like the 'Duke Ellington Ending'

Barb, as you pick up speed doing this, you'll need a real pro teacher. This is pretty incredible work.

I can see you getting pretty natural with this in a short time. It will be time to solo on Donna Lee ;\)

What other tunes are you working on (Jazz wise)? May I suggest that you master All the Things that You Are, and Stella by Starlight. These are much more advanced than AL but incorporates AL elements. You'll need to work on these types of tunes because they modulate frequently.

As you're proving to everyone here, practice (enough of it) can yield exceptional results I'M SO PROUD OF YOU!!!
_________________________
Hamburg Steinway O, Nord Electro 4 HP
My Blog

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#1010918 - 02/10/08 12:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
Swingin' Barb Offline
500 Post Club Member

Registered: 01/21/06
Posts: 889
Loc: North Carolina
Thank you, Jazzwee, for all those kind words and for your suggestions on how I need to progress. You are the leader here and have helped me so very much. A thousand thanks and a thousand go to you!

The jazzy songs in my repertoire that I have voiced as a Sudnow student are:

Blue in Green, You Must Believe in Spring, Take the "A" Train, I Remember Clifford, The Duke, Doxy.

If you think I should work with any of those as potential solo tunes, I'll do so. If not, I'll just dive into All the Things You Are and Stella by Starlight.
_________________________
A Sudnow Method Fanatic
"Color tones, can't live without them"

To hear how I have progressed since 2006, check out: http://b.kane.home.mindspring.com

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#1010919 - 02/10/08 08:30 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Barb, those tunes you mention don't have the challenges of All the things and Stella. These two are hard to solo through because they are constantly modulating. Some keys don't last more than a measure. That's what you need to develop next.
_________________________
Hamburg Steinway O, Nord Electro 4 HP
My Blog

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