I would be very grateful to see a PDF posting of what you regard as the basic complete changes to Round Midnight. Your teaching is great. A fascinating warren of rabbit holes!
Well you can see the section here: drive.google.com/file/d/1Jv55jpuqEsAGs90yRWqTkIlHf5nbeN5n/view .... half bar C half dim half bar F7 and full bar Bb7 twice
I hear these sounds only played by you! I don't know if I am the only person having that feeling, but I have never liked static drop2 drop3 etc.. They sounded so rigid to me, whereas to be able to move the voices like you do is something I really aim for, it's captivating, alive, organic, meditative, I could do that for hours. It seems like a classical contrapunctal piece, but improvised (also thanks to your beautiful classical technique, which honestly most jazzers don't have) !This seems so far away to achieve, but I am slowly learning easy baby steps, the path itself is delightful.
This is like a minor 251, now but the 1 is a 7th chord so that would be the dominant 6 chord in the key. Am I understanding the key? edit: Now this exact section is in a realbook in Db thats 6 flats I think.. Gb is 7 then B is 4 sharps.... its a realbook so not quite right... Anyway I guess that would make the Bb7 a 1/6 chord.... blah blah Joe Pass said in a lesson if its hard I dont do it. I think he meant dont complicate
I'm slowly breaking my addiction to drop 2's. Another great lesson brother.
I would be very grateful to see a PDF posting of what you regard as the basic complete changes to Round Midnight. Your teaching is great. A fascinating warren of rabbit holes!
Well you can see the section here: drive.google.com/file/d/1Jv55jpuqEsAGs90yRWqTkIlHf5nbeN5n/view .... half bar C half dim half bar F7 and full bar Bb7 twice
I hear these sounds only played by you! I don't know if I am the only person having that feeling, but I have never liked static drop2 drop3 etc.. They sounded so rigid to me, whereas to be able to move the voices like you do is something I really aim for, it's captivating, alive, organic, meditative, I could do that for hours. It seems like a classical contrapunctal piece, but improvised (also thanks to your beautiful classical technique, which honestly most jazzers don't have) !This seems so far away to achieve, but I am slowly learning easy baby steps, the path itself is delightful.
This is like a minor 251, now but the 1 is a 7th chord so that would be the dominant 6 chord in the key. Am I understanding the key?
edit: Now this exact section is in a realbook in Db thats 6 flats I think.. Gb is 7 then B is 4 sharps.... its a realbook so not quite right... Anyway I guess that would make the Bb7 a 1/6 chord.... blah blah Joe Pass said in a lesson if its hard I dont do it. I think he meant dont complicate
what even is meta scale
My take was its these scales with the sharp 5 added .... or barry harris diminished scales of chords.... not necesito sharp 5 added I guess