we analyzed a tune last night online, don't think you were there. i actually meant to email you and forgot.
anyway, i'm thinking of doing it again and doing Green Dolphin Street.
also, i'm around if you want to get together this week. and i'll also do that duet.
cu
tony
Here's a 2 part study of the tune solar. In part 1 I teach you the tune. In part 2 we talk a little more about it and we play together through the tune in a couple different keys.
If you work on the lesson plan, your final exam :-) is to play solar in a different key and upload it here!
Part two of the Solar Lesson. Make sure you've gone through part 1 first!
In this lesson, you'll do some playing along with me. BTW- I gave everything the 'Tap' test, which is I tap through and make sure I didn't drag, or drop a beat, and it all looks ok. Just play simple on top of my stuff and all should work ok. Any problems let me know.
Solar is a great tune to study. From the melody to the harmony there's a ton to learn here.
December 16, 2008 - 10:30pm
Smalls Jazz Club
183 West 10th Street
New York, NY
http://www.smallsjazzclub.com
FEATURING
Tom Beckham - vibes/comp
Chris Cheek - saxes (3 of them)
Henry Hey - piano
Matt Pavolka - bass
Ferenc Nemeth - drums
Here's an article of Ed's from PAS.
The Theme from Law & Order, as performed by my band TUCKSY. This will also be on our upcoming record "Let's Start The Show".
Dan McCarthy, vibes
Tuey Connell, banjo
Dan Loomis, bass
Fred Kennedy, drums
A video of my band TUCKSY performing at Caffe Vivaldi in NYC. The tune is called Nothing Is Lost, and it is on our upcoming record "Let's Start The Show".
Dan McCarthy, vibes
Tuey Connell, banjo
Dan Loomis, bass
Fred Kenedy, drums
Everyone says to avoid hitting the bars at the nodes. Well, I wanted to see what it would sound like in a musical context. Enclosed is my experiment. The idea was to play over Am on the nodes in one phrase, then answer over other changes with a more hollow tone on the middle of the bars. Playing at the nodes is neat because you can hit it hard and hear the attack of the mallet but the notes sound like they are in the distance or as if a low-pass filter is applied to the sound. Does anyone else use this technique?
A few months ago I started transcribing John Mark Piper's tune "Spring Valley Kids". I didn't get any further with the transcription but every once in a while I play a few measures of it on my vibes. I recorded my jam on that tune. After you listen to my version, listen to the Master's performance (link above). I am floored every time I listen to it.
Barry