Day 5: The two main tweaks in this lesson are the first and fourth measures. In the first measure, there's a nice surround going into the ninth of the Gm; two half steps below and two above. In the fourth measure, the line descends at the D7, which was ascending in the previous days.
Hi everyone,
Haven't been around much here as much as I'd like to recently, as I've been busy releasing my debut album. Check it out! http://ralphwyld.co.uk/subterranea/
However I found this transcription I did a while ago of Joe's solo on "All of You" from Sticks and Strings, and thought I'd share it here. As well as the vibes I've taken down the rhythm section for reference.
It's got so much fluidity and flow, some killer lines, and many Joe-isms!
Day 4: You will notice the first measure has been changed slightly. Rather than have it go up the Gm dorian as it has been, this measure has a melodic minor type sound to it. Even though it's a Gm7 chord, the F# is really just a passing tone and gives strength surrounding the root.
Day 3: The two main tweaks in this lesson are in the C7 measures. In M2, there's an Ab in the line, giving it a darker color than just having the A natural. In M6, the C augmented triad is outlined. Many bebop masters use augmented triads all the time, especially Milt Jackson!
In Day 2, you will start to notice the use of a few chromatic notes and approach tones. The line is similar and still pretty diatonic. Take notice of the surround tones in M4. You will see lines like this all the time in bebop where there's half step approaches to notes.
Turnaround lines are very important in jazz because we see progressions all the time like 2-5-3-6, 1-6-2-5 etc. The more vocabulary you learn over turnarounds, the better! Turnarounds aren't just at the ends of forms, but can be anywhere within a tune. Start off this week with this simple line I came up with. It's very diatonic, and it's supposed to be a lesson in how you can still make the changes without too much altering of chord tones.
Day 5; In this final lesson, we're sticking with closed voicings. The top note changes with each chord. I particularly like the 2nd F7 voicing which is A,D,Eb,F from bottom up. It's very crunchy and fun to groove on.
In day 4, we're reverting back to the original rhythm. The difference here is closed voicings. Notice the nice crunch in the closed voicings. As with the other lessons, keep the articulation nice and short on the eighth note.