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No problem EP. It's a free for all  as intended. But I will put the restraint mostly on myself to introduce things in small steps. My objective for now in my own posts is to make reading leadsheets a piece of cake using 1/7 voicings.
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Originally posted by EP:
... there's lots of ways to analyze a tune like this... Hi EP, I think the more usual way to do roman numeral analysis on Autumn Leaves is to take account of its modulation back and forth between two keys, the major key in which it starts (G major in the version above) and the relative minor of that key (E minor above). See earlier thread . Roman numeral analysis without taking account of modulations tends to make things look much more complicated than they are.
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jazzwee, just curious, if you're lazy, would you rather drop the 5 or the 7 on a 7th chord?  OK, if anyone's interested, here are the chords for my Autumn Leaves (Key of Bb, two flats at b and e)...by the way this version is off of an instructional by Talc Tolchin on jazz improv (good series). (melody starts G,A,Bb,Eb) | |Cmin7|F7|BbMaj7| |EbMaj7|Amin7b5|D7|Gmin7| | |Cmin7|F7|BbMaj7| |EbMaj7|Amin7b5|D7|Gmin7| | |Amin7b5|D7|Gmin7| | |Cmin7|F7|BbMaj7| |Eb|Amin7b5|D7|Gmin7,C7| |Fmin7,Bb7|EbMaj7|Amin7b5,D7|Gmin7|G7| **FYI, the b5 at the end of some of the chords are flatted fifths.
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Understood, jazzwee, and I'll try not to hijack the thread.
I've just had it ingrained in me that the first step is to check out the form of the tune, especially to be aware of the II-V-I's, so I wanted to make the point that this tune is nothing but two II-V-I's, one in major and one in minor, (Am-D7-G and F#m7b5-B7b9-Em) so people could see that this was really a very simple tune and not to be thinking it was more complex than it is.
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MikeA,
We crossed posts there, but you are absolutely right. Sorry if my earlier post was misleading.
I've deleted the previous post to avoid confusing anyone.
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Wow, awesome sound, jazzwee, I loved it! Your rhythm is very nice. Was this recorded on your Hamburg? Very well played!
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EP, checking the form of the tune is excellent advice. And I agree with the revised analysis of Mike A and you that it is best understood as a simple ii-V-I of a major key and ii-V-i of it's relative minor. This gives an initial framework that the tune could possibly be played using a single scale: G.
C D E F# G A B C
All white keys except for one note.
However, as we expand later on this concept, we will learn to use a multitude of scales on this tune. But in the meantime, noodling in G scale will be fine.
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Van, thanks! and yes it's live using the H4 and the Hamburg. It took me awhile to figure out how to split up an MP3 file. But from now on it won't be so hard.
Just for background, the LH is just doing 1/7's like what we're discussing here and the right hand playing a simple melody.
Later on we can see that the RH can play some of the chords too while playing the melody.
Apparently, I was also playing this at a fairly fast clip. It feels slightly faster than 150bpm.
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Hi All, I lurked the previous thread with interest and apprehension. Now that the real thing is here, I've decided to dip my toe in the water. I think I got the A section working with a bare bones melody this morning, so I'm going to give it a try. For anyone (like me) who's a little slow at figuring out things like m7b5 chords, here's a nice site with a chord chart very close to the G version above, and it includes sound and chord voicings: http://www.8notes.com/chord_chart/autumn_leaves.asp
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This is a great topic Jazzwee. Count me in Here's a dumb question. Are you guys working off a lead sheet? 
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Heh, only when you try to record do you realize the kind of trouble you're in. Pedaling this tune gives me all kinds of trouble. Also I keep speeding up. Anyway, I'll try again to record something tomorrow.
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Kawaigirl1, there are never going to be dumb questions here! Instead of a leadsheet (which we cannot officially post due to to copyrights), I have posted the chords at the top of the thread.
I placed the notes to be played for each chord early in this thread so you don't need to be intimidated. We're doing only two notes per chord and they're already listed.
So the chords are listed like this as they would be in a leadsheet. They're separated by bars which would indicate that you would count to four on each bar. So stay on the same chord for four beats.
| Am7 | D7 | Gmaj7 | CMaj7 |
| 1234 | 1234 | 1234 | 1234 |
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Originally posted by bluekeys: Hi All,
I lurked the previous thread with interest and apprehension. Now that the real thing is here, I've decided to dip my toe in the water.
I think I got the A section working with a bare bones melody this morning, so I'm going to give it a try.
For anyone (like me) who's a little slow at figuring out things like m7b5 chords, here's a nice site with a chord chart very close to the G version above, and it includes sound and chord voicings:
http://www.8notes.com/chord_chart/autumn_leaves.asp Bluekeys, why be apprehensive? Just to repeat my background here, I've only played piano and jazz for a little over three years. So you're not that far away. What I'm sharing here is based on collective information from several jazz teachers. Over the years I've tried to analyze how best to learn this stuff and hopefully I can impart that to everyone and share my love of jazz.
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Originally posted by mahlzeit: Heh, only when you try to record do you realize the kind of trouble you're in. Pedaling this tune gives me all kinds of trouble. Also I keep speeding up. Anyway, I'll try again to record something tomorrow. I know what you mean with recording. I just tried to record some stuff right now and I get self-conscious to so I keep making mistakes. Then I discovered, the Recorder was OFF!!!! I have to emphasize by the way that in Jazz, the rhythm is key and it has to be there whether fast or slow. I was trying to record a version at ballad speed just for comparison just to show that even at slow speed, I'm still counting. BTW - most of jazz is seldom pedalled. This is hard as the notes have to be played legato. My early teachers would forbid me from using pedals or reverb.
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Originally posted by jazzwee:
Instead of a leadsheet (which we cannot officially post due to to copyrights) . . . Heh, we cannot legally post our own recordings of Autumn Leaves either.  Here is a (legal!) leadsheet of Autumn Leaves, although I won't make any promises to its accuracy: http://www.wikifonia.org/node/106 (If you select "Eb" under Layout, you'll see the score in Em, which is what we're talking about in this thread.) Anyways, I just managed to record something bearable. Instead of 1-7 in the left hand, I alternated between 1-7 and 1-3 (and even a 1-5 at some point but that happened without thinking). No (real) improvisations yet. I hope it swings. Here it is (MIDI file): http://www.box.net/shared/bl81pqao0c
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Originally posted by jazzwee:
I was trying to record a version at ballad speed just for comparison just to show that even at slow speed, I'm still counting. I'm not counting but I'm definitively tapping along with my foot, which I never do otherwise. BTW - most of jazz is seldom pedalled. That's interesting. The bit I just recorded is without pedal and I like it better that way, but I guess it really needs a drummer.
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Hi Matthijs, I don't mean I actually count 1234. At this point, I've internalized the pulse so I'm conscious of the beat. I have to anyway in order to swing. I still have Rhythm problems. But certainly much better than when I started.
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Matthijs, I listened to the recording and you're starting to swing man! Good job! I'll do some recordings later to show some swing exercises so you all can practice that and learn variations in swing.
BTW - in the end we will also be doing 1/7 and 1/3 on the left as that's better voice leading. There's also 1/5/7 on the LH which is perfect for Autumn Leaves actually. Sometimes the melody is on the third so it doesn't work too well to do 1/7 LH and 3/5 RH. Unconsciously I noticed that in my recording I did add an extra note on the RH. Habit.
Anyway, later, I'll introduce a nice RH voicing to a 1/7, 1/3 LH. Perfect for comping a singer.
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Originally posted by mahlzeit:
...Heh, we cannot legally post our own recordings of Autumn Leaves either. ... I believe there's an applicable exception under U.S. copyright law. Public Performance Without Commercial Advantage. Although fair use provides a statutory exception to any of a copyright holder’s exclusive rights, § 110(4) provides an exception to only the performance right of a copyright holder.94 The § 110(4) exception in the Copyright Act allows public performances to take place without payment so long as the performance is done without the intent of making commercial gain.95 In addition, the performers, promoters, and organizers must not be compensated beyond expenses. The statute does not require the performance to be free if the proceeds are used exclusively for educational, religious, or charitable purposes. If none of these purposes are available, the performance must be free for the audience. Examples of these public performances include eligible benefit concerts, school performances, and religious festivities. See CRS Report to Congress: Copyright L...on, Reproduction, and Public Performance 19 (2006). Not an expert, though.
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