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#1010950 - 02/14/08 04:36 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
btw Barb, I've asked three teachers now about dragging and I never get a satisfactory response. There seems to be no specific instruction for this (at least that is beyond what I have come up with on my own). I suppose because they rely on instinct after developing very solid time.

However, I think this is specifically a good thing to work on because I feel that dragging raises the tension level and playing on the beat releases it. This is also why I think dragging is not a constant value (just like swing is never actually constant).
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#1010951 - 02/14/08 09:12 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 Gang,

Below is an experimental solo. I have been avoiding speed with these new scales. I decided to take a chance and try soloing at 140 bpm - still slow in the great scheme of things, but fast for me.

http://www.box.net/shared/oeo5p2oo4w

Jazzwee, is much being sacrificed by playing at this speed? I tried to accent correctly and I realize some of those quarter notes should be more detached. Funny how I hear things that I am not pleased with the more I listen and look at the printout.

Would you recommend daily practice at this speed? If not, I'll stick to 110 - 120.
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#1010952 - 02/15/08 01:02 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
 Quote:


A good singer may not drag it consistently across the phrase. Most dragging that I've heard catches up at the end (rubato playing - rob time but give time back).


This is a good point Jazzwee. I dragged it throughout the piece just to get that RH dragging effect.

Also I didn't realize I was doing all quarter notes. I thought I put in that 8th legato note there.

Goes to show that when we work on a new thing, the other stuff gets thrown out the window subconsciously.

Barb, what you are doing sounds good to me but I am no expert.

Rosa \:\)

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#1010953 - 02/15/08 02:24 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
 Quote:
Originally posted by Swingin' Barb:
Hi Gang,

Below is an experimental solo. I have been avoiding speed with these new scales. I decided to take a chance and try soloing at 140 bpm - still slow in the great scheme of things, but fast for me.

http://www.box.net/shared/oeo5p2oo4w

Jazzwee, is much being sacrificed by playing at this speed? I tried to accent correctly and I realize some of those quarter notes should be more detached. Funny how I hear things that I am not pleased with the more I listen and look at the printout.

Would you recommend daily practice at this speed? If not, I'll stick to 110 - 120. [/b]
Barb, I didn't see anything wrong with doing it at this speed. It's always good to practice faster. I would do both since different parts of the brain are exercised.

What I did notice though as that your fingers are probably driving your solo as you tend to play the same note patterns. Think of a way to break this by introducing something new. How about add some arpeggios in or moving in thirds? Just to jog your brain into a new direction.

One specific area that you can think of alternative lines to is the |Em7 A7|Dm7 G7|
That's a |D Major Scale|C Major scale| there so you've got tons more options than what you're using.

I probably never discussed what scales to use here so good thing this came up.

Think of what's happening here. You're playing the Em/G scale, then it shifts to D scale, then to C scale. You see the whole step progression downwards? Em to D to C? This is a good area to think of the modulations because in a tune like All the Things That You Are, it's brimming with modulations (although not too bad).
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#1010954 - 02/15/08 02:37 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
 Quote:
Originally posted by rosa2007:
 Quote:


A good singer may not drag it consistently across the phrase. Most dragging that I've heard catches up at the end (rubato playing - rob time but give time back).


This is a good point Jazzwee. I dragged it throughout the piece just to get that RH dragging effect.

Also I didn't realize I was doing all quarter notes. I thought I put in that 8th legato note there.

Goes to show that when we work on a new thing, the other stuff gets thrown out the window subconsciously.

Barb, what you are doing sounds good to me but I am no expert.

Rosa \:\) [/b]
Rosa, as I've found, awareness of the problem means it's half solved.

The probable solution is to repractice the specific areas separately:

1. Swing Eights/Accenting
2. LH Charleston
3. RH Phrasing

It's only natural if none of you can do them all together. Who can? Certainly not me at the beginning. But if you can any of them well then it seems to seep in and then eventually you can do it all. It's pretty gradual though.

Think of this. Before this thread, you weren't headed in any specific direction. Now, if you continue practicing these items you will all succeed. It's already proven by short term results.

One thing I'd suggest though is as you all get into practicing solos, is to study another tune at the same time aside from AL. It could be another simple Standard or Blues. Or A-Train, On Green Dolphin Street, Days of Wine and Roses, Blue Bossa.

When you're more confident, the next level of tunes to shoot for are All The Things That You Are, Stella By Starlight. These are much more difficult to solo over but not so bad with a little help. (Another study group?). These tunes can be played with shell LH voicings.

For ballad style playing (ala Bill Evans), some nice target tunes are My Romance and My Foolish Heart. Not easy but can be started with shells and then expanded from there.
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#1010955 - 02/15/08 09:26 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 jazzwee:

One specific area that you can think of alternative lines to is the |Em7 A7|Dm7 G7|
That's a |D Major Scale|C Major scale| there so you've got tons more options than what you're using.

I probably never discussed what scales to use here so good thing this came up.

Think of what's happening here. You're playing the Em/G scale, then it shifts to D scale, then to C scale. You see the whole step progression downwards? Em to D to C? This is a good area to think of the modulations because in a tune like All the Things That You Are, it's brimming with modulations (although not too bad). [/b]
Jazzwee - I'm so glad this was brought up. I just discovered that I have been reading the AL chart with a vertical orientation, ( chordwise only) as opoosed to a horizontal orientation (more key oriented).

In lessons 13 and 14, you introduced us to some jazzy scales to be played over chords. I've been looking at the chords and choosing notes for the half dim, or half whole dim scales to fit over the chords. So, when I looked at the Em7, A7, Dm7, G7 – I saw them only as separate chords. I wasn't thinking of a specific key that would fit, but rather, which notes would fit each of the chords. That's what has been driving my fingers to do certain patterns that I have used in each solo.

You continue to spot the problems, Jazzwee. You are GOOD!
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#1010956 - 02/16/08 02:21 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
About Transcribing[/b]

I did a little bit of transcription tonight. I rarely do this but this thread has inspired me. Here I am teaching you all this and it made me wonder what some masters actually played.

For those so inclined, it's pretty easy to do this using a program called "Transcribe!". You can slow it down and it's pretty much impossible to miss a note. You do have to figure out what chord you're on which may hard for beginners.

In any case, I transcribed a few measures of Bill Evans and several of Jarrets. I don't have a notation software so I just wrote the notes down as letters. But this is just for me.

What I found with these two masters is a very strict adherence to chord tones on downbeats. And let me add that they're just using the diatonic chords for the most part. Where it get's exciting is all the chromatic passing tones in between.

I did not see them use Half-Whole Diminished or Alt scales. The Half Dim scale was used though. The Dominant 7 frequently used the b9, which is part of the Half-Whole Diminished scale but they really don't extend beyond that.

But using the chromatic passing tones in between really bring the sound really far out. It's cool. Some of it's hard to pick out by ear because the sounds aren't diatonic. I'm pretty good with the ears but some of Jarret's stuff was unexpected with these chromatic passing notes. These are the simple examples BTW.

Here's a snippets from Jarrett (I bolded chord tones and these are transposed to G/Em).

Am7

G[/b] G# A[/b] B C[/b] B C[/b]

CMaj7
B[/b] A G[/b] F E[/b]

Am7

E[/b] D# E[/b] F# G[/b]

I just picked a few out to make a point. They're all like this. Chord tones on the downbeat.

Bill Evans on the other hand played AL more using a arpeggiated chord pattern. Since he starts a line on the + of a beat, he will deliberately start an arpeggio many times on the 9 or the 13.

Here's the opening line to his AL version on Youtube (again transposed to our key of G/Em).

Am7

G E[/b] G E[/b] A E[/b]

The way he does it here is he starts with G with is the 9 of Am7. But it starts on the pickup so E is actually the chord tone.

A typical pattern of Evans is to arpeggiate from 3 to the 9 (3, 5, 7, 9). And then reorganize the order so that he plays the 9 on the upbeat.

A lot can be learned by transcribing. I haven't done much of it myself. But it is often said that transcribing is useful only when you do it yourself. For that reason, I'm not going to post an actual notated transcription, and I didn't record it with sufficient detail anyway.

This tells us that it isn't that the lines on the downbeats are complex. As we said since the beginning, they're just the 1,3,5,7 of the chord. What makes it pretty is how they're connected by the non-chord tones/non-scale notes which gives it an 'outside' feel at moments.

The newer scales we use nowadays (HW diminished, Alt, Whole Tone) were frequently used during Coltrane's time and sounds more 'outside'. And this is a much newer sound than what we hear from Evans.

This just proves there are multiple approaches to improvising and as shown here one can improvise on a simple concept of chord tones on downbeats and neighbor tones at other times.
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#1010957 - 02/16/08 03:02 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
Jazawee, I love those sounds that come out.


I have a question regarding this one:

Am7

D C# D F# G

I understand the G downbeat as that is the 7 of Am7.

But what about the D? That is the 4th and not in the 1,3,5,7? How does that work because I thought we are supposed to avoid the 4th on the downbeat. Or maybe there is just something that has not clicked for me yet.

Rosa

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#1010958 - 02/16/08 11:59 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
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Registered: 04/25/07
Posts: 7060
Loc: So. California
Rosa, sorry that's just a mistake when I transposed. It's E. It's supposed to be
5 b5 5 6 b7

Also the 4th is an avoid note on Maj 7 chords. It is NOT an avoid note on Min7 chords or Dom7 chords. If you play a 4th as a chord tone (not in Jarrett's case) on an Am7, you're in fact substituting a D7sus4 instead of Am7 which is actually a good substitution and very consonant (although not particularly tense). It is used a lot in Rock Music.

This is why downbeat chord tones are used to communicate the harmonics. By playing chord tones inconsistent with the original chords on the downbeat you are in fact suggesting a different chord (like when using HW Diminished, or Alt). This can be used to good effect to raise tension, or it could just sound harmonically incorrect if it's not intentional.
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#1010959 - 02/16/08 12:48 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
Jazzwee, that makes sense now. At least your mistake there helped sort out a confusion I often have regarding the 4th tone. I always thought the 4th tone sounded good with the minor 7th and dominant 7th.

Rosa \:\)

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#1010960 - 02/16/08 01:14 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
chrisbell Offline
1000 Post Club Member

Registered: 05/11/07
Posts: 1332
Loc: Stockholm, Sweden
And just to shake things about a bit . . . here's some weekend fun
Here's a couple of sections (the first 2 choruses) from Keith Jarrett's AL solo on Tokyo '96. It's the one that's up on YT. It's really interesting to have a look under the hood at what the masters are doing.

I've transposed it to Em:
pdf

and for those of that want to play it in Gm:
pdf

For those of you with sharp eyes; yes it's correct Jarrett plays a G7(!) instead of GMaj7 in bar 4 (G7 being the Dominant of C makes it ok :-)
Check out the use of leading and chromatic tones, also his way of pausing now and again. And remember to swing!

Btw: excellent work by all!

Me? I'm stuck with music and sound design for a short film, as well as becoming a dad again. (ETA 7 days and counting!).
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#1010961 - 02/16/08 02:40 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 All,

I’ve been listening to Jazzwee’s AL combo. Talk about relaxed playing – WOW.

I practiced my RH and played along with Jazzwee. …overandoverandover…….

Then, with my “combo group”, I tried to add the LH Charleston with it.
I’m trying for that relaxed RH and an on time LH Charleston rhythm. (Wish I could vary my LH pattern as Jazzwee does, but that’s not do-able right now.)

Jazzwee – I know this is going to take lots of practice to get that "Oh so wonderfully relaxed " sound. Am I heading closer here?

http://www.box.net/shared/cio2tz44ks
_________________________
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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#1010962 - 02/16/08 02:44 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
PS. Chris -- cool solos. Thank you.

A Dad again? How exciting!!!!
_________________________
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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#1010963 - 02/16/08 02:53 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
 Quote:
Originally posted by rosa2007:
Jazzwee, that makes sense now. At least your mistake there helped sort out a confusion I often have regarding the 4th tone. I always thought the 4th tone sounded good with the minor 7th and dominant 7th.

Rosa \:\) [/b]
Just remember not to put it on the downbeat. I've been practicing incorporating some of Bill Evans and Jarret's ideas into my solo on AL and I'm really noticing when I don't land a chord tone on a downbeat. The sound seems incomplete. So when I eventually post it, you will see it's very hard to do.

I started planning the beat handling like Jarrett and Evans. Since I usually start a line on a + of a beat, I just consciously start it on a NON-Chord tone and it works out more often than not. I'm practicing at 150bpm and it's very hard to hit the chord tones exactly right. And the solution is to give it space. The space allows you to reorient yourself on the beat. And also allows you to synch your swing.

Hey, I struggle through all of this too but hopefully, by laying out my problems (and solutions) it will help you guys out.
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#1010964 - 02/16/08 02:54 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
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Registered: 04/25/07
Posts: 7060
Loc: So. California
Chris thanks for sharing that!
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#1010965 - 02/16/08 02:59 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
quote:
Originally posted by Swingin' Barb:
HI All,

I’ve been listening to Jazzwee’s AL combo. Talk about relaxed playing – WOW.

I practiced my RH and played along with Jazzwee. …overandoverandover…….

Then, with my “combo group”, I tried to add the LH Charleston with it.
I’m trying for that relaxed RH and an on time LH Charleston rhythm. (Wish I could vary my LH pattern as Jazzwee does, but that’s not do-able right now.)

Jazzwee – I know this is going to take lots of practice to get that "Oh so wonderfully relaxed
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#1010966 - 02/17/08 01:09 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
Here, I am trying to walk my bass on Autumn Leaves (Lesson 5)

http://www.box.net/shared/yur7neww0k

Rosa \:\)

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#1010967 - 02/18/08 03:35 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Notes are good Rosa. Just remember that Walking bass is continuous, it's always 1 per quarter and there's no empty space. The best way to learn this is probably record the walking. Then you can add your RH to it.

It's pretty hard to walk and do anything on the RH. But it work great even for a beginner when you're building your own recordings.

So a starting point to learning this is just stick to a memorized bass line like you have here and make sure you can do it without thinking. When the LH is on autopilot then you add the RH, by playing chords first, then melody. Finally, you try simple solos. This is a year project though for most people (just to get started). You seem to have a knack for this so this could be much easier for you.

I did walking bass and then I stopped doing it because it's not in the style of my current teacher so I'd need practice to even start doing it again.
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#1010968 - 02/18/08 10:48 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
Jazzwee, I didn't realize the walking bass needs to be continuous. I did it in the empty slots when RH is not playing to get the effect of the bass sounds. Is there a reason for this continous pulse or maybe this is a jazz vocab that I need to acquire.

Also thanks for your guidance in approaching this. It doesn't take me long to try out the bass line and probably will be a bit different each time but I get the gist of it. The trick is to get to the leading tone right before the downbeat chord tone and that comes quite easy for me and no need for memorization.

I'll experiment the continuos bassline for another 2 days and see what I come up with.

Rosa \:\)

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#1010969 - 02/18/08 01:07 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Hi Rosa, the Walking bass simulates a real bass player so it is not intended as a solo piano sound. It's a nice contrast in solo piano because it sounds like the bass player joined you for a moment.

There's another style that's more for solo piano and it uses two chord tones per measure (played legato). Typically it will anticipate the beat a little and that's what gives it the swing.

Kenny Barron, Dave McKenna are some of the stylistic experts on this.
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#1010970 - 02/19/08 12:20 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Hey guys, Barb had asked me to record an AL solo and here's a snippet of it (one chorus).

http://www.box.net/shared/x2cq1zdcck


There's just a couple things I'd like to explain about this solo. First, it is hard swinging so it is different from my prior examples which I played with more straight eighths. This would be closer to a Bill Evans style of swing I think.

There's several chromatic lines in it. For example to run through an F#m7b5 chord, I might do [F F# G G# A B] or [F# G G# A B], depending on whether I start on the upbeat or not. The first one starting on F on an offbeat will have F# and G# land on the downbeat. So what this is showing is that the tones on the upbeat need not to be from any scale. This is something I explained in the Chromatic examples provided earlier.

I do use the Half-Whole diminished on the Dominant 7 chords at times (not always).

I mix quarter notes and half notes into the solo.

In general I don't know how cleanly I hit chord tones on the downbeat on the eighth notes. Probably ok for the most part. But the long notes (quarter or half) that cross chords are typically common tones and may be chord extensions since those are the ones typically shared between chords.

I don't remember exactly what I did here as this is a real improvisation. I made some mistakes on the first chorus so I just chopped it off and I didn't have time to redo it. Hopefully it's of some use.
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#1010971 - 02/19/08 10:06 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
Thank you Jazzwee. That's what I needed to hear. I have yet to get those jazzy scale notes to sound like Bill Evans. You have proven that it is quite doable.

I am motivated to keep plugging away. \:\)
_________________________
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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#1010972 - 02/19/08 01:31 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Barb, part of the issue of getting a legitimate sounding swing is:

1. Accents - something we've discussed frequently
2. Legato

The legato element is extremely important because I find for myself that if I accidentally break that legato sound, it's awful and sounds amateurish. If the legato sound breaks, the sing-songy aspect appears.

Here's at least my modest example of hard swing but missing the sing-songy effect. It's closer to triplet feel, although I don't consistently do this, some moments are straight too.

When I say I play straight or hard swing, it's more of a tendency rather than a 100% thing.

To me a triplet feeling swing sounds like:
Dow-Da Dow-Da Dow-Da Dow-Da Dow-Da Dow-Da Dow-Da

vs. Straight eighths sounding more like

Da-Da Da-Da Da-Da Da-Da Da-Da Da-Da Da-Da Da-Da


And I don't know if you'll notice this but I purposely don't start at the top of the beat. Wherever I choose to start it, I'd have to maintain that location for a few beats so it sounds intentional.

Once you actually are able to analyze and understand how swing evolves, it becomes doable pretty quickly. What's harder I think, is to maintain a consistent swing throughout and this is more of a technique issue.
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#1010973 - 02/19/08 02:01 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
chrisbell Offline
1000 Post Club Member

Registered: 05/11/07
Posts: 1332
Loc: Stockholm, Sweden
Actually, a triplet swing sound is more like:
Do-Be-Do-Be-Do-Be-Doo. ;\)
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#1010974 - 02/19/08 02:04 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
 Quote:
Originally posted by chrisbell:
Actually, a triplet swing sound is more like:
Do-Be-Do-Be-Do-Be-Doo. ;\) [/b]
He,he! I didn't know there were official syllables to be used \:D \:D For some reason, in my head I associate a Bill Evans swing as having a more rounded sound so to me he's a Dow-Da (played very fast) ...
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#1010975 - 02/19/08 02:21 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
chrisbell Offline
1000 Post Club Member

Registered: 05/11/07
Posts: 1332
Loc: Stockholm, Sweden
It's that old joke: Wittgenstein and Sartre are having an argument: To be is to do, no no, To DO is to be! Frank Sinatra comes along and says: Do-be-do-be-do.

Frank Sinatra. The early albums with Nelson Riddle.
Relaxed swing and marvelous phrasing.
This weekend I've been collecting different recordings of AL. And I must say that there's two version that blows me away: one with the original version sung by Yves Montand and the other by a very young Barbara Streisand with Michel Legrand's orchestra recorded in France.

And yes; legato is best. Keep it smooth.
_________________________

I never play anything the same way once.

https://soundcloud.com/chrisb/sets
https://www.youtube.com/user/djboing/videos

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#1010976 - 02/19/08 03:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
Maybe we do...

A-wop-bop-a-loo-ma-ba-lop-bam-bom

wait a minute...that's not jazz. \:D
_________________________
Hamburg Steinway O, Nord Electro 4 HP
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#1010977 - 02/19/08 11:49 PM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
deeluk Offline
Full Member

Registered: 01/25/07
Posts: 163
Loc: Fort Collins, CO
Gang, just dropping in to let you all know I haven't abandoned this thread. I was on vacation for the past coupla days. No 'net. No piano. Getting back in the groove tonight. Back to my chord tone + half dim practice....

Jazzwee, thanks for posting your solo snippet. I've been meaning to ask you to post an example for us incorporating more of the recent solo lessons. That one sounds great! I love the accents you're using throughout. I'd love to be able to achieve that sort of control over my playing.

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#1010978 - 02/20/08 12:52 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
jazzwee Offline
7000 Post Club Member

Registered: 04/25/07
Posts: 7060
Loc: So. California
I'll try to post more deeluk. I'm just trying to find time. As you know it's hard to post a finished product or even semi-finished. Because we're not pros, imperfection is expected. But since you're all following me here I have the extra burden of doing the best I can (at least one that doesn't set bad examples that you can spot).

I'm sure the pros listening to my playing will have much to criticize but we are what we are.

One note on practicing that swing feel. It's probably easier to accomplish phrasing eighth notes at about 120bpm. Earlier in the solo lessons we started at 150bpm to force the use of long notes. But when focusing on eighth notes 150bpm is pretty fast for beginners. But don't do much slower than 110-120bpm because it gets to be harder to have control since the notes are too far apart. Sometimes I have articulation problems at 150bpm that I don't spot when I'm playing but I hear it in recordings so I clean up the phrasing at 120bpm.
_________________________
Hamburg Steinway O, Nord Electro 4 HP
My Blog

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#1010979 - 02/21/08 08:13 AM Re: Jazz Study Group: Autumn Leaves, ATTYA, etc.
rosa2007 Offline
Full Member

Registered: 09/18/07
Posts: 168
Loc: Hong Kong
This time, it is continuous bass line for Autumn.

http://www.box.net/shared/tcskaes08g

This was really fun to do.

Rosa \:\)

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