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1) I believe so.
2) Not sure, I "get it" from listening to the examples, but I'm not really able to describe it in writing.
Maybe ask him? I know he answers his mail. http://www.chuckisraels.com/

If he's talking about a TWO BEAT FEEL (2/4), then 1 and 3 are DOWNBEATS and 2 and 4 are OFFBEATS.

If standard 4/4 feel, then of course we start talking eighths as we usually do. Quarter notes are BEATS.

Sometimes talk of accents are confusing and that's because it depends on whose role we're talking about. The rhythm section vs. the soloist.

The soloist plays AGAINST the rhythm section.

He's talking about 4/4

............

Basic jazz drumming

I'm just reading the quote and he's talking about implying TWO BEAT FEEL.

Maybe we are interpreting his text differently.
Chuck writes: " . . . first and third beats of common time music"
Common time is 4/4

Remember I got Herbie/Wayne Shorter tickets? WTF...Chick is playing the SAME NIGHT. Talk about competition...Well to late now since I already have the Herbie tickets so the choice is made.

Some good choices here lately...

Hey, that Chick dude sure gets around. West Coast - Australia - West Coast.

Hi all

I was just writing some stuff on upper structure voicings and thought someone here may find it interesting. Here it is ...

[img:left]http://img12.imageshack.us/i/creatingharmonyandlines.jpg/
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[img:left]http://img337.imageshack.us/i/creatingharmonyandlines.jpg/
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Hey Dave B
Welcome back ! So you survived Everest/ Himalayas/ Nepal. Did you bang your head to Bird tunes against the cold precipices ?
I look forward to trying out your stuff which looks great. Right now it's too late for the neighbours.
Thanks.
cus

Thanks Custard, its good to be back.
I certainly did bang my head to Bird tunes against the cold precipices, that is closer to the truth than you could know!

Beeboss, I did imagine various mountain climbing movies like K2, etc. You were gone for a heck of long time ... Either that or you gave up on the internet.

Welcome back.

Nice upper structure study. Will have to translate to roman numerals to remember.

Thanks JW.
Yeah 3 months holidays is good going!
My fingers feel like rubber now though!!

Hello Beeboss... good to "meet" you. I joined in on the thread about a month ago. Here's my youtube channel: http://www.youtube.com/user/scolettajazz

I've been checking out some of the stuff on your channel...very nice!

I tried to open your stuff on open structure voicings but I seem to have some kind of problem with image shack. When it opens I get one of those fake browser windows and messages about malware... must be a virus on my computer. Maybe you could put it on box.net if it's not too much trouble?

Hi Scott, good to meet you too. You have nice tunes up on youtube yourself.

I uploaded it to box.net ....

http://www.box.net/shared/g3ztcitbi0

http://www.box.net/shared/y18gs79kkp


If this doesn't work send me a pm with your email and i'll post 'em to you.

cheers, David

Beeboss, I was just checking out your upper extension ideas. Good stuff. Thanks for reposting on box.net. I wonder if it might be helpful for someone who is learning to also have an analysis of how the upper structure functions against the basic chord. For example on the first D7 chord w/ Dmin you could show that the F is a sharp 9. Just thought this might help for clarifying when a particular upper structure might be called for since alot of them are enharmonic equivalents and may be confusing. Of course, alot of times its up to the improviser to add these things but I guess that's another topic...knowing when to add alterations. Are you writing this for teaching?

BTW - Scott and riverrun, I'm just extra busy right now, but I'd like to still take apart what Mehldau is doing rhythmically. So stay tuned.

Yes you are right that would be a good idea.



I am writing a book, but very slowly. Every now and again I just add a bit more. I have already written a lot of stuff about scale theory and how to generate chords and voicings from scales, and the chapter on upper extensions is slowly getting bigger. That particular example was just as a demonstration of how upper structures can actually be used in generating lines and some interesting voicings over a standard sequence.

Jam Session report
I had a great jam session today Just good people and good fun and some interesting comments from people.

As you all know, I don't think particularly well of myself at these jam sessions (that I've been doing since November). And I don't really know what the other musicians think of me and how I play.

But today, several actually spoke to me and both praised and critiqued me. One said that my solos were melodic and that I was one of the better ones to listen to. Several said I had a nice touch on the piano. I think this resulted from a change in mindset. I played less. I played with more space. I played with less eighth notes. I varied my comping more but played less really. Yet, it's amazing how people perceive it differently.

The critique itself wasn't about my playing. It was about how serious I look, like I'm not enjoying the music. And yes, the tunes required that I look at the leadsheet, but in general, they said I need to show in my face that I was enjoying the music.

LOL. Each one of us expresses music a different way. In all these years of playing jazz, I've been doing it on the internet. So no one sees what my face. Now there's another aspect I can attack. My stage presence. I thought it was very special when one musician actually came to me and said that both of our problems are just in learning the tunes but my piano sound was great and he'd rather play with me than anyone else. He said he liked my touch.

Wow.

I wasn't expecting any of this today, particularly since I've been playing classical for a few weeks so I'm a little rusty.

Even my teacher said I was on the verge of getting "there". Whatever "there" is. I think he meant playing like a pro. And I think he's right. It isn't about trying to play fast (which I've abandoned on several jams because I can't), but about being musical and it seems like I'm making progress.

Anyway, I just wanted to share that since this thread is part of what helps me develop and you guys are providing the support, help, and critique.

BTW - someone shouted as we finished "Stella" that I "nailed it". I can't remember what I did so we'll have to listen to the recording.

Congrats JW. To achieve this after 6 years is great.
What about when you don't look at the sheet ? - do they think you look less stressed ?

I think that I just look serious. But there's so much going in my head at the time I'm really so into the music that I'm not externally expressing myself. Maybe as I get more relaxed, I can set aside brain power to be more aware of my environment.

I have to careful too because my wide says my mouth assumes an expression when I'm playing. I think it was Hal Galper who said that my body should be quiet.