Here's a PDF with the G half whole scale. It's a scale that outlines a G7 b9 chord. I ask the question what if the chord was a G7 b9 #5, what would the scale be. Write it out and send it to me!
Here's all the Friedman Dampening and Pedaling vids and audio lessons on the site. This a book all of us should work through and master.
If you play any of the etudes not on the list. Please record yourself and post your performance!
I banged this baby out. Really fast. But it looks ok. Let me know where the mistakes are.
But it's a lesson in drop 2 voicings. Now that I know what drop 2 voicings are I see them everywhere! How about choral writing. Big band charts.
I have had an ongoing discussion with the handful of students and friends who have come to me over the years about the nature of what we are doing as jazz musicians, how to study it and how it fits into the whole music in general. Recently, Tony and I were discussing some of this offline and he encouraged me to put this out here in this forum for discussion.
I love that idea.
Ok, I know Barry is a sentimentalist. So I'm going to try and crank out a drop 2 arrangement of 'Oh, Danny Boy'.
Then we should all work on that, solo on it and post it for Jon Daly and Ireland.
Maybe then we need to have a vibe hang with Pints. Although In my house I might have to do Non Alcoholic beer, but I'll still act drunk if you want.
Hopefully tonight I can crank Out Danny Boy in Finale.
Anyway let's see what kind of arrangements we come up with.
Here is a great analysis of the Steely Dan "Mu Major" chord.
http://jmdl.com/howard/steelydan/mu-major.html
I just tried it on the vibes and it sounds cool.
Barry
Hi!
Encouraged by Tony's call to put up some personal recordings I put up this blues here. I recorded all the instruments with overdubs. Overdubbing is quite difficult to me even tough with metronome since I have a lack of "rhytmical stability". The recordng is about a year old and I think that my vibes playing has improved since then - at least I hope so.
Cheers Stefan
When I did my arrangement of White Christmas, I used an open voicing on the Cmaj7. Turns out that it was a Drop 2 of a Major 7th (Closed G B C E -> Drop 2: C G B E). Now I can put a cool name to that voicing.
Since St. Patty's Day is coming up, I started working on Drop 2 voicings for "Danny Boy". I am starting out with a closed voice arrangement. I will use that for the first repeat. On the second repeat, I will play the tune again with the open Drop 2 voicing. It is starting to sound really nice.
Barry
Lennie Tristano, George Shearing... 2 masters of drop 2 voicings. (Was Shearing?) I'm going to listen to more Lennie, but I played on the piano today and I thought of him immediately.
I've been really shedding all this. A couple points I'm thinking.
Don't take those scales and voicings literal. Any sideways movement of chords can have drop 2s.
Make up a simple line in a key or mode. Harmonize the melody in closed position (move the chords sideways), then do drop 2.
I was playing the C6, Fdim chords (with the various inversions) in Dana's drop 2 lesson. As I was playing, I heard the song, "Once in a While", and thought it might be a good tune to apply the Drop 2 voicing for chord melody.
I would like a little guidance on the application of the lesson. I understand the example of playing the C Maj Bebop scale with the C6 or the diminished chord underneath, but I am not sure about applying chords to an arbitrary melody.