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do both and don't worry

There is an extra fast-progress fee of 1000 squirrels. Send them to Knotty.

DF

hahahhhh Dave 500 kangaroos to you and 500 possums to Knotty

Here's a satellite picture of my house (the one under the tree)



Do you think I need more squirrels?

You might need more, depending on which tree. Your description wasn't very clear.

you can start a business exporting much-needed squirrels to squirrel-poor countries.

DF

Knotty
Please send some of your spare squirrels my way. The possums in my garden would appreciate more diversified company.
cus

I'm nursing a head cold today and stuck on the JOI CD while I went to bed. Maybe it's that the tunes seem more impressive when I've not already butchered them, or maybe things really do pick up at lesson 3? Nothing against what I've learned so far, but the material from 3 on sounds like something you might play to impress, rather than 'a study in a book'. Anyway, I enjoyed having Dave serenade me, and then when the CD finished I woke up.

I also decided it's time to start lesson 3.

I started writing something over the bassline of leaf line, but I'm nowhere near happy with it.

Also, bird's bounce in lesson 12: shouldn't that one be credited to Charlie Parker and Benny Harris?

Tlt,

The tunes get more and more difficult with each lesson. You're ready for lesson 3 no doubt.

Hey, did you notice each tune is a sample composition on chord changes from a jazz standard?

Doesn't surprise me. This is the only one that I've recognised on listening to. That's.... that's..... dang, what is that? Oh, I know what it is.

Hey, wouldn't it be embarrassing if I'd been playing Autumn Leaves for the last fortnight without realising it?

hi custard,

wow I am really amazed by your progress since you started with Joy. Great motivation for myself. You you keep up this pace you'll be a monster on the keys soon

I am currently working through the foundation with Dave that why I have been a bit quiet here. Cant wait until I start improvising too.

I have a question on Froggy Day (lesson 3).

Bar 3. G7.

Now, I do have this vague notion that I'm in Bb, so G is chord vi, so I'm kind of expecting a Gmin7, but hey, I've learned not to be too rigid about these things. But this 'G7' also has an Eb (min 6th) and an Ab (b9th).

????

Any offers? Don't worry, you can tell me. If it's too complex I'll just put it down to experience. No doubt it's a tofu substitution or I've modulated into another galaxy or something.

Hi TLT,

you analysis is correct. The original song is in Bb which has a Gminor. However what you have often in Jazz and Gospel music is that the minor chord will be turned into a dominant chord so that there is a stronger pull towards the minor that follows thereafter -> which in this case is the Cmin7. In most songs when there are 2 minord chords in a progression, the first one can be made a dominant.

Now regarding the G7:

The actual chord is a G7b9b13 or G7b9#5 once again a very common chord in Jazz. The reason why people usually just notate it as G7 is that there are very few rules regarding dominant chords. In fact, people say that you can throw in any possible extension under the sun when using a dominant chord. So people just write G7 and leave it to the player to add the extension they prefer. Black gospel musucians for example often use the G7#9#5 when going to the Cmin chord.

Hope this helps

Thanks saiman. And I suppose if I take the analogy of the minor ii-V-i then the V has a minor 6th and either flattened or sharpened 9th anyway. Got it.

That's interesting, I didn't know that, but it makes a lot of sense.
Does that mean that for my A min 6 ii V i progression, that I can treat the Bmin7b5 as a dominant chord ?

Hey Ten
Sounds like your brain is working hot, good to know you're recovering from your head cold.

Hi Simon
Thanks very much for your kind words. I thought your first two compositions were great and I'm looking forward to hearing your 3rd one.
I know that you will improve at an even quicker rate than mine.

Cheers
cus

Thanks. Still having trouble breathing, but I did some music today, and I've fallen in love with Froggy Day. I drift in and out of fogginess.

As for your question - I'm not sure. I think it's more the E7 that's dominant, but I wouldn't like to say that the B half dim couldn't be something else, because there seems to be so many possibilities on the table.

While practicing today I really felt I'm getting the benefit of these hanons, especially for my RH. I feel like I can thump it good and strong when I want to, and not lose rhythm or legato, also that awkward clusters just don't feel as awkward.

However, when I'm doing the hanons my LH feels like a wet rag I carry around with me.

How's everyone?

I'm into lesson 3.

Hi 10,

I never did hanons with the LH. If you have that kind of time, it's great. It totally frees up the hand. Great exercises.

I've been really busy with everything, playing a lot. Here's something I put together. This is a recording from last Friday:

[video:youtube]r-wZqUNQrsE[/video]