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you need to use a racket every time cus.

DF

Hey Dave
You are too funny

Hi Ten
Thanks ! You are so right. It's the perfect opportunity to practise stuff I don't normally do.

I tried LH Hanons Lesson 20 today. They were far too hard so I went back to Lesson 1 Hanons. Tomorrow I will do Lesson 2 Hanons.

For voicings, I practised the LH of my own arrangement for When I Fall in Love.

I'm going to study Dave's Walking Bass Line clinic again tomorrow and give it a try.

no racket for the walking basslines now cus..you could practice basslines for say, 15-30 min:)

DF

Hey 10,

>> I do have some Art T. But as always listening alone doesn't really help. It all comes too fast.
It does come fast. I was thinking about it as I'm watching the new Dave Frank masterclass with Dick Hyman. Dave talked about the Swiss watch metaphor. What you're seeing is what you're supposed to be seeing, and that's a beautiful final product. In order to understand it deeper, you'd have to turn it around, and probably open it up.

But what if you just listened to Tatum, and then picked a 2 second passage, and try to dissect that. Just 2 seconds. Working on 2 seconds of Tatum, and I don't mean from a technical standpoint, would probably keep you busy for a week and you'd only scratch the surface.

However, that's a great way to steal ideas. Just take something tiny and try to get why it works. Could be a chord movement, or a device, a simple pattern. But I think the key is keeping it small. Noone can understand all of Tatum in a few simple listening. The guy was a genius and spent his entire life perfecting the art.
Each time to start grasping 2 seconds of music, you hear the rest a little bit more clearly.

Later, I'll try and post 2 or 3 seconds of Tatum playing tenderly. And maybe we can make some sense out of it.

I only listened to 1/2 the masterclass this morning. I had to debate between practice and listening, so I did 1/2 and 1/2, but Dick said something along the line of having an ear for being able to pick up from recordings, and that not everyone had it, but he did.
I remember Bill Evans saying something similar, that some people just had a facility for hearing things, but that he did not. And that to a certain extent, it forced him to work really hard at developing his style. Obviously he succeeded.

Go on then. Too difficult alone, but I'll do it here. Besides it'll keep cus out of mischief.

alright then, let's take a look at this.

technically, I think this is totally doable. However, I would never come up with that stuff. But how great it works. Let's see if we can make sense of it:

http://www.box.net/shared/89enj391tc

and before you get me, I know, it's longer than 2 or 3 secs, it's more like 8, but you can just take the 1st or 2nd half if you want. I wanted to give a tiny bit of context.
The tune is tenderly, and he's playing it in D.

Hi Knotty
Thanks for selecting such a beautiful extract from Tenderly.
I've chosen the RH melodic lines and tried to make some sense of it. I'm not a very good transcriber especially when it comes to:
1. interpreting rhythm or rubato
2. working out the notes in a chord.

http://www.box.net/shared/yxu2qb9sct

Hey Cus, that looks really good to me. This stuff is really hard to write on paper, i dont' do it, mostly because I can't.
Here's how I'd go about it.

On the first section, I hear these few points:
- The melody is played very clearly, and correctly. Just with a few secs of the clip, you know it's tenderly.
- He comes in on the first note with what sounds like a 2 hand - 3 notes slur to land on the D, and let it ring nice. That re-inforces the melody.
- After the note is played, he lands the chord, which seems more or less like a plain Gb-7
- He does a little bit of movement to create interest, something fairly simple, going down the scale.
- He surprises us by not landing on the b7 like we'd expect but going back up to the major 7, which creates major tension
- He does not resolve that major 7, but moves on

This extract is from a Capitol Records recording, in case you are interested. The whole thing is pure genius.

Thanks Knotty !
I wouldn't have known where to start a year ago.

Which vocalist or other version should I listen to in order to learn Tenderly ?

Oscar Peterson does a mean version of tenderly, and I think Ella sang it too.
But I'm not a vocalist expert...

Here's Sarah Vaughan singing the $#@! out of it: CLICK HERE

This is the version I grew up with:

http://www.youtube.com/watch?v=7W-Nfv4oobg

Just so you know, I can do more than just hard rock...

Edit: I just downloaded the clip and put it into transcribe. May get a chance to look at it tomorrow. At first listening I have no idea of beats or bars, and can't see where the tune fits, but will try to get some notes down anyway. I'll do this before looking at custard's score.

Thanks everyone for helping me learn the melody to Tenderly.

Knotty
I've just listened to Oscar Peterson and then Ella, they were awesome.

Leagle Beagle
Sarah Vaughan, that sonorous voice, it was great.

Ten
haHA, it wasn't much help to me as you could guess, but how hilarious was that !

Hey Knots
Your ear is very discerning. Thanks for articulating your insights so clearly.
It's amazing how the great Art could use such a simple device as a descending unaltered major scale so effectively, and in just the right place.
Yes, Art highlighting that maj 7 certainly created a very interesting sound. As Dave said in the Frank Zappa masterclass, ending a phrase on the 7 could create a poignant, spiritual sound. The unresolved quality was really cool.

I think I forgot to mention that it was a very challenging but encouraging exercise for me.
I had stopped transcribing at the beginning of this year as the Charlie Christian ones were taking me too much time, since I wasn't very good at it.
But I feel I have improved a lot.

And I learnt so much from just a few seconds of Art.

I loved the section in the masterclass with Dick Hyman where he says "With Art, take what you can. Marvel at the rest of it".

Some recordings. This is lesson 6:

http://www.box.net/shared/dz1rejqon9
http://www.box.net/shared/lukb73tsc9

melody line from Tenderly excerpt:
http://www.box.net/shared/f2b0j9f2kl

For tenderly I've not yet looked at what other people came up with, I want to try it a little myself first.

Anyway, all comments welcome!

For transcribing - I've found actually *writing it ou*t is a really laborious process. A lot is working out rhythms, and sometimes I just can't be bothered. What I have learned from JOI is that (this is my opinion) 90% of the learning comes from listening and imitating. This in itself is time-consuming. But the writing is even more time consuming, and I'm not convinced that the extra learning gained from writing it out is worthwhile. Possibly the time would be better spent on another tune, or on hanons. Just my ha'penny worth.

Tlt,

lesson 6 is perfecto!

>> For transcribing - I've found actually *writing it ou*t is a really laborious process. A lot is working out rhythms, and sometimes I just can't be bothered. What I have learned from JOI is that (this is my opinion) 90% of the learning comes from listening and imitating. This in itself is time-consuming. But the writing is even more time consuming, and I'm not convinced that the extra learning gained from writing it out is worthwhile. Possibly the time would be better spent on another tune, or on hanons. Just my ha'penny worth.

I agree.

>> I had stopped transcribing at the beginning of this year as the Charlie Christian ones were taking me too much time, since I wasn't very good at it.

I also enjoyed Charlie Christian less than the others. But when you jump to Charlie Parker, I think you'll enjoy those a lot. Start with Now's the time or Moose the mooche maybe. Those are really good.

Singing Bird is one of my favorite parts of the day. I really liked Moose the Mooche, and have almost finished learning Perhaps. I think I loved Perhaps even more than Moose.
On the weekend I look forward to moving onto Now's The Time, thanks for the suggestion.