Miden I admire the musician who plays a C# between a C note and a D note. You can call that Jazz, rock, or just improvising. And I have heard a line of notes that were so good far better than a line played with many more notes. By not playing the notes exactly as they were written you have room to express yourself -- the song becomes you.

There musicians who cannot read music and those who have studied for years; they may even have degrees but there in law which will point out the best. It is like someone’s opinion, it’s there’s they own it – they feel it and they cannot be told they are incorrect. I am not talking about fact here just opinions.

So Miden great for you if you’re giving it a try. This post is for many like you who would enjoy to having a song that has a flavor of you; even if it’s only two notes that you have added.

John C.

I certainly didn't mean to put anyone down and only meant that as a genre', jazz is, IMO, just flat out harder to master than most other genre's. I think it's partly because of the improvisational nature of it (some folks just can't play ANYTHING unless it's written down - I know some excellent classical players that fit that description), the more complex voicings and phrasing, the more complex and, in some cases, much speedier tempos, and just the fact that it's not as familiar to most folks unless they grew up in a household where it was played.

That said, it doesn't make those who attempt it, despite all of the above, 'pretenders', and I'm sorry I chose that word, as on re-reading, it does smack of 'elitism'. BTW, I definitely consider myself one of the 'pretenders' as I feel extremely challenged every single night we play, even after all these years. But, in my mind, that's the fun and the value of it; 'no pain, no gain'. For me anyway, when playing jazz, I don't feel as though I can relax for a single second, that I must constantly listen to what everyone else is doing (and respond accordingly) and always search for new ways to express what the music is making me feel. I just don't get that from other music forms, except maybe for Blues.

So for all those that I offended with that statement, I apologize, and I certainly would encourage any and all to both listen to and play jazz, as it's the very best way to expand it's acceptance and appreciation for the art form. Glad you called me out on that, Dennis. I wasn't really aware of how it sounded when I posted it.

chas

Gee Chas now you sound almost as humble as me and Cavanaugh. Where in the heck is Cavanaugh?

Try spending a minute on this thought. Make that 2 minutes! The telephone has 10 digits yet there are billions of phone numbers.

Music notes number 12. A tenor sax has approx 2 1/2 octaves. How many variations (phone numbers) can you get out of that. Add accents, bent notes, different rhythms, fake notes (on saxes), personality and on and on and on!!!!!

Call it infinite! And all you want to do is 3 three chords? Go figure. It's like playing tic tac toe all your life and never wanting to graduate to "Suduku." Ha ha!

No worries at all Chas, thanks And I am in 100% agreement with ...."and I certainly would encourage any and all to both listen to and play jazz, as it's the very best way to expand it's acceptance and appreciation for the art form."

Dennis

Niles ... many thanks for posting those RHODES demos ... GREAT stuff ...



John ... thnx for the above examples ... adding a M7th or M6th is a common practice of mine, but I would like to know what chord substitutions people are using in a tune like "MISTY" ... anyone???

Half remembered tunes offer the best opportunity for 'substitutions'! It's amazing what you can come up with when you don't know what you are SUPPOSED to play!

BTW, if you are looking for entire re-versionings... Herbie's 'River: The Joni Letters' where he works over Joni Mitchell tunes is amazing, or an even greater stretch might be the Charlie Hunter Quartet's reversion of the entire Bob Marley 'Natty Dread' album in a jazz mode..!

See, I just KNEW there'd be advantages to aging!

Hi Chas,
came across a good book many years ago, basically for classical players. " Jazz Improvisation for the Classical Pianist" by Martan Mann".
It was way over my head at the time, but, I ended up lending it to my piano teacher , (she was a really good classical pianist). Anyway she was so impressed she ended up buying a copy for herself.

The idea of the book is try and bridge the world of the classical pianist with the world of the jazz improvisor.
After studying the book , a classical player should have the knowledge to create their own stylings and arrangements from a Fake Book and have the ability to start improvising.

With the bit of classical piano I did learn early on, knowing what a chord was, wasn't part of it. I was too old to bother going thru 5 to 6 years of classical piano lessons, plus playing classics didn't really appeal. I was a real Richard Clayderman fan, so I painstakingly learnt the sheet music note for note. I think back on how much easier it would have been if I'd understood chord construction, would have made learning a tune a lot quicker.
Eventually came across " Bill Irwins Magic Study Series for the Popular Pianist". First section was on chord construction. Second section was on rythms.3rd section covered R/H Harmony, Embellishments, Block Chords etc. Fourth section coverd fills, transposition & chord progressions.
Last but not least was complete section on just Diminished chords, which covered intro's modulations fills interludes & repeats.
Never quite worked my way thru the whole book, it got packed up along with all my piano books after I had to sell my little baby grand.
Kids left, downsized to a much smaller home.

Anyway, I've dug the book back out again, and realized that parts of it could be handy for my arranger playing.

Misty

Bb7+5 E7+9 Ebmaj7 Bbm7
Look at me I’m as helpless as a
A7-5 Abmaj7
kitten up a tree
Abm7 Db9
and I feel like I’m clinging to a cloud
Ebmaj7 Cm7 Fm7
I can’t understand I get Misty
Bb13-9 Ebmaj7 -- F#13-F#9-Fm7 Bb7 E7+9
just holding your hand (Turn – around)


These chords are dependent on their voicing to sound good. The right bass note and high lead note.
This is a bit involved – I would like to get back to something more basic and build up.
Note: Guitar people are notorious when it comes to creating chord progressions and using chord extensions and substitutions. What a job posting this music; next time I thing I’ll use a JPG.

John C.

Sorry but the chords did not stay where I put them – in cut and paste something went wrong. I’m hoping that you can place them where they belong.

John C.