The solos are perfect. I think you really got those changes down now. The flow was good. It will only get better. I wouldn't worry about anything here. The phrase at 1.21 was really hot. I liked hot you exited the repetition. That's a really hip line.

The melody was nice, too.
On bar 3 and 7, don't swing the triplets. Play even 1/4 trips.
For measure 9 and 11, I would play it as 1/4rest, dotted 1/4, 1/4 1/4 and play the 1/4 notes short.

Sometimes it's painful playing melodies this slow.

nice going custard, you're jazzin'!

Sometimes I do, but I generally end up just playing fairly soon because the concentration to sing and play at the same time escapes me. A bit like how beginners describe they can't play and count at the same time.

If I knew why I was doing it, I might persist more. If the point is to get me to start and end phrases on downbeats, then that's fine - and I'll even do it, only I don't find if difficult to start on upbeats. I can more see the point in landing on downbeats.

As for feeling in 4s - why not 6's or 8's or 16's? I just try and feel the line.



I just sang that one. Won't be hard to do it slow. Slice of pizza?

Hi Knotty
That's very kind of you.

I'm glad you liked my improv. I liked it better than the first one, this 2nd one felt more natural. I was more used to using repetition.
I also chose another theme/shape/idea from which to launch off. For the first one, I chose the last line of Lady Bird. For the second one, I chose the first line of Lady Bird.




This is very helpful. I don't tend to be very good at playing heads.
You're right, I just listened back to the Fats version and he doesn't swing bar 3 and 7.
And bars 9 and 11, I will try to hold down the first quarter note slightly longer than the next two. And I will try to detach those two quarter notes. This seems to make sense as dotting the first quarter note makes the next two quarter notes have a shorter value.

Yeah I totally agree with you about speed, playing a head this slow forces you to be more exact about rhythm.

Thanks again Knotty for all your suggestions.

I have a question. Lesson 28, Like some juan? Line 4 bar 2, the rhythms there.

I have listened to the CD, but it's so fast. So just because it hurts my head too much to do maths, I have been treating the triplet semiquavers (1/16) as grace notes before the beat, which I think is probably as near as matters. My question is on beat 2 (quaver, semi, semi) - I could treat them also as grace notes - or I could do them as written ('swung triplets' I think we call them.

What did others do?

>>as grace notes before the beat, which I think is probably as near as matters
I think that's what I do too.
Not a big music reader here, but I think I would actually play it as written, which is 1/16th trip. Which ends up sounding a bit like a slur.

And again here, I would play the 1/4 notes short on the bar before.

I had to take a music lesson to have somebody help me to notate that line:)

you know how many music lessons I had to take to help me play it?

As written, OK.



detached, you mean?

dave, for the future, be aware my rates are very reasonable.

line 3, bar 1, rh. 7th note's an E flat. Same in line 6, last bar.

>>detached, you mean?
I guess. I mean to play them short. Short vs long notes, you know?. Probably would be written with a dot on top of the note.

For line 3, I have the 3rd note as being an F nat, not Fb as written. I played most of these by ears from the recording though, so I may not have all the corrections written.

You're right, that's an F natural. is notated as such in bar 23.

I played at Ryles in Cambridge on Thursday 1-19-12. Every performance is a learning experience.

I'd be grateful if someone could listen to Like some Juan? and just check for any obvious mistakes. I've done my best, but it's so darn fiddly. I don't want to start practising mistakes.

http://www.box.com/s/q9cbb55xopgdx938m74s

also, I recorded an improv:
http://www.box.com/s/rzp6fkcyounnsc6boglq

this is, if I'm not mistaken F, Bb, Bbmin.

I'm getting quite into doing these arpeggios along to the chord progressions, and now I'm going back over the 251's because I don't think I really got to grips every time with what chord i was actually playing. Because I'm now doing 3-5-7-9 arps, I have a question now about the minor ones.

So, for the minors, when I'm on the half-dim chord, I play 1-3-b5-7, is that right?
The for the dominant, I play 3-5-7-b9. Again, I'm not sure about this one. I have a funny feeling maybe the 5th is also supposed to be flattened. But I can't think for the life of me, why.
Then for the 1 chord I play 3-5-7-9, and that's the major 7th, over the minor 6 chord in the lh.

I had been doing the 1-3-5-7 arps previously. Then once I'd done 5 minutes of the 3-5-7-9, if I accidentally hit the root note it sounded so wrong.

10,

Re: Juan.
Very nice job. You take this to a challenging tempo. I can tell you I was never able to play the tunes that fast, not even close. Dave didn't seem to mind, I'm just glad he didn't give out grade.
That part with the slur (last measures of the A section), could use a little work. For, me the way to deal with those is to focus on where the target not lands, and for the rest, I try to play an even slur. In other words, play first without the slur, then add the slur. This is a very nice effect to use on solo because it has repetition in it, and it sounds smooth.

Re: Improv.
Very nice. Try a few more in a row.

Re: Arps
It's hard to tell if you get it right because your notation is not quite accurate enough. Here's how I would write
* ii-7b5
* 1 - b3 - b5 - b7.
* The 3579 doesn't always work as great. But try b3 b5 b7 b9

* V7b9
* 1 3 5 b7
* 3 5 b7 b9

* I-6.
* 1 b3 5 7 (major 7)
* b3 5 7 9

That's a killer bar. I played it first, like you said, just landing on the beats and forgetting the fluff. Then I put the fluff in one bit at a time.



OK. My aim is to post something every week. I've got that 3-scale progression done in C and F. I feel really loathe to tackle Bb. Strange, I feel C and F will unravel if I add another key.



sorry for writing in such a rushed way - I understand you perfectly. That's what I was doing except the new idea for the -7b5. I will try that our. Thanks.

What a beautiful tune 10. Aren't Book 2 tunes difficult.

Knots, what was the standard for Like Some Juan ?

like someone in love. Gorgeous tune!

Hi Knots
I know you're a bit busy but if you have time over the next couple of weeks, could you please let me know whether you like my chords for Beautiful Love ?

http://www.box.com/s/bqh0vxpmj56xxf3oxknh

http://www.box.com/s/7q6qqmpbea8q3acyk9sz

Thanks.

cus

I think it's perfect.
One thing about pre-arranging the LH is that by the time you're done working on beautiful love, you'll really know those chords.
You could try mixing it up a little more on the 251 in d- and the 251 in F.

What I mean is replace one of the A7s, maybe move it to a different position.
And possibly add a little color to that C7. Just so we stick by the jazz snob code...

Hey Knots
Many thanks for your great comments.
I've changed the C7 and 2 of the A7s, so I hope they sound more interesting to you now.
Do you think the A7b9 with a b5 sounds too weird as the chord bridging the A sec with B1 sec ?
With the scale over A7b9b5, do I use Ab maj (rather than staying in D min6) ?

http://www.box.com/s/y04l7p9y80q35g1mzpfy

http://www.box.com/s/atje59xu7vgh30ddbyus

Could I please also confirm with you that for the arps for the lydian dominant chords, that I can simply use the dominant arp ?
e.g. Bb7 #11 chord: use Bb7 arp
G7 #11 chord: use G7 arp

[btw: I am still laughing at Dave's title Like Some Juan ?]

>> Aren't Book 2 tunes difficult.

scary tunes. I made a right pig's dinner of it today. I have no idea how I managed to record that. Needs work.

>>[btw: I am still laughing at Dave's title Like Some Juan ?]

Me too.

>>* ii-7b5
...
* The 3579 doesn't always work as great. But try b3 b5 b7 b9

I just tried this, sounds good. I suppose the thing to remember and know was the flat 9. Everything else is flat anyway. The flat 9 I would never have guessed, but it does sound cool.

custard, I look forward to hearing your new tune with improv and all!

Hey Knots
Please ignore what I said. I've realised why my chord alteration sounded weird. I should have used #5 instead of b5.
The #5 fits in better with the melody which has an F in it.
Using #5 also fits in really well with the D harm min scale.

Also for the last bar of the B1 sec, I'm now using A sus b9 instead of just A sus (2).

Cheers
cus

That ought to keep the jazz snobs away for a while!

haha Knots.
Let us know how you go with Dave and Keith tomorrow.

oh no !!!! I can't believe it, I'm so sad, I didn't even know Brad Mehldau was playing in the suburb next to mine last week.

http://www.nonesuch.com/journal/joshua-r...tasy-2012-01-23

Friday in the synagogue sounds like a lot of fun. Bet acoustics would be better than some of the huge concert halls.

You have no idea how many concerts I miss ...

I love the sound at Carnegie Hall actually, it's really awesome. We have 2 concert halls within 20 minutes of my house, one if the Kennedy Center, and the other is the new Strathmore. Both are also amazing. These rooms are acoustically so perfect.

I wonder how Keith is going to be tomorrow. I'm ready for anything.

Sitting 1st row with perfect view of his hands was like getting a private lesson. He was like "Watch!, now watch this. Look how I can make all those melodies come out." The guy was so fluid and flawless, the most beautiful thing. People of all ages were there. Lots and lots of 25-35 year old guys. One kid came out pulling his hair saying "Oh no, my mind has been blown!!". That pretty much summed it up for all of us.

Big thanks to Dave for the wonderful tickets. You wouldn't want to sit anywhere else!

Sounds like the kind of concert you'll remember for the rest of your life.
The best masters always seem so contemporary.

The mysterious confluence in an encounter with Keith Jarrett is the utterly awesome and unbelievable convergence of a *human being* and *perfection*. To experience the two together, for hours on end, changes your perception of reality and of human potential. He was the full hero tonight, musically and
personally. We were a part of history, and it was sublime.

Dave Frank