Відео

Hey, first of all, the chord symbol is wrong (my bad!), it should be Abmaj9#11no3. You could also write it as Ebmaj7/Ab, which is probably easier. The maj9#11 chord has a particular sound, and that chord sounds like it, but I don't hear the third (C) in it, which is what the no3 stands for. In general, hearing chords and voicings is much more about practice, building your vocabulary of sorts of voicings that you can recognize. For example, that sound of a major 7 chord with the 9 and #11 in it, it's just a sound that I'm familiar with, and when I hear it, I can recognize it fairly easily. And I don't need to be able to instantly pick out all the notes to do that. Having a good grasp on theory makes this easier, especially to just put names to things and categorize, connect and explain things in your head. It's technically not necessary, but it gets hard to talk to others about it without it. Yes, I do have perfect pitch, but when you have a reference, like a piano or something, the difference between having and not having it is pretty small, it just speeds things up a little. That synth line comes out pretty well I feel like, and even there, it's about hearing and recognizing the shapes in the line, not hearing the individual notes. All of this can definitely be learned and does not depend on perfect pitch.

For Little Man, I might make a sheet for it if I find the time, sounds pretty interesting! I'll let you know if I do

He's playing over the bird blues, going around the circle of forths. That he explained himself in the interview. He also makes it pretty clear with the way he lays out the changes, using arpeggios and common 2-5-1 material.

@@Auromaton​​⁠​⁠​⁠​⁠​⁠​​⁠​⁠​⁠ Then, if there is no any background knowledge, is it possible to find what chords are played by listening arpeggios? For example, 0:19 In m.18, Cmaj7, there are E F# G A Bb C C# D# but it was Cmaj7. What logic is applied? What should I search and learn to find chords in monophony ?

Well, in that case he doesn't really play the Cmaj7. He's using the C half-tone-whole-tone scale (C Db D# E F# G A Bb), which is commonly used over a C7 dominant, so he might be thinking C7 instead of Cmaj7. It's not a 100% clear all the time, but the bird blues changes are well-known in jazz, and he's playing over them, as he said himself, and it's quite clear in certain places (like in the 7th and 8th bars of each chorus, where he often plays the descending 2-5s). So the chords aren't inferred purely from what he's playing, but from the context of jazz, where the blues and variations of its chord changes are shared knowledge.

It's a lot of doublings, there's also probably a whole bunch of other notes and stuff that almost disappears in the mix, but still adds to the color. And different parts focus more on different regions in the session, I don't think there's a moment where all the tracks sound at the same time, just maybe at the end.

Well, there's no #11 in there but yeah, it's a Dmaj13.

I do have perfect pitch! This solo took me around 2-3 hours, I think. I transcribed the tune first, so that I knew the changes and structure, then the solo.

@@Auromaton Thank you for your comment! it's the first time of answering of perfect pitch owner...! I have really a question, that if you hear chords then can you recognize each notes? Like someone play Cdim7 and you "just" recognize there is C Eb Gb A. Also I heard that perfect pitch owners know the key of music at once hearing, how it's possible??

@@dojgeo It's more that I recognize the chord itself than all the notes within it. The latter also works, but it takes me a bit of time to kind of listen into the voicing and figure out all the notes. But if it's a voicing that I'm familiar with, I can hear it pretty well right away. So your experience in listening to music and hearing and recognizing different voicings plays a huge role. This applies equally to people who don't have perfect pitch - as long as you have a reference like a piano or something, you can figure all this stuff out too! It takes a while in the beginning, it did for me as well, but with time you get faster. I do usually hear the key pretty immediately, I don't think I can explain how that's possible, for people with perfect pitch it's simply natural.

It's up on MuseScore, but you can also write me an email and I'll send it to ya

0:45

0:58

Ce fou ne lis pas, il improvise

I've added it to the description

Do you mean those first 4 bars? If you just listen you indeed hear it just as a passage that sounds cool But you transcribe it and analyse it to figure out what exactly Evans does so you can learn from it and incorporate it into your own playing so someone else heard your music and thinks it sounds cool

Yeah, I know, most thirds and stuff are justly tuned. I didn't see a point in notating that everywhere, partly because there aren't any shifts or modulations resulting from that, it's just within the voicings, and it's very common in a capella and choir music, without needing to be written out. But I probably could have noted it somewhere.

My pleasure! I loved to watch June Lee transcriptions like 5-10 years ago, feels right to do the same

It's not 8vb, but I'm sure he's either pitch shifted that or used someone else's vocals. He did that for Moon River too, I think his sister sang the C6 at the end.