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Hi Knotty
Many thanks for your time in listening to and commenting on Green Dolphin.
I'd like to spend another day on it to get thematic improv going, usually when I do thematic improv, I lose the form, or I lose the counting in 4s.

No I haven't learnt All the Things You Are. It sounds very difficult, one I could spend a life-time exploring. I look forward to tackling it. I think it will take me 3 months rather than my usual one month.

Thanks again.

Cus,

I think you are ready to tackle All the things you are. It's not as hard as you might think. It's just a bunch of 251s in 4 keys I think, and no real big surprise. It's all major throughout, so not hard to understand. It is a somewhat long form, but you'll do just fine.

What do you call thematic improv? Do you mean playing outside like Dave's masterclass?

Hi Knotty
By thematic improv, I mean using one idea (what I call global repetition). One motif/ shape/idea links all the other motifs e.g. Rollins, Trane, Pilc.
This does not preclude the local repetition that I've been doing since the start of this year.

I have a question for you about triplets. I find they tend to muck up my counting in 4s. Is the counting in 4s concept temporarily suspended when you are doing triplets ?

Wow, custard, that's inspiring! You have been working hard, working well.

What are enclosures?

Thanks 10. Welcome back, hope you enjoyed your holidays, and the UK weather wasn't too bad hehe.
Yeah I always work much better after holidays.
Enclosures are a bebop device which use chromatics to target a note. So for example if your chord tone or target note is G, you can play F Ab before the G. Besides sounding cool, enclosures help you extend your line.

Ah, got it, thanks.

Weather was OK. We were fully prepared for a week of DVD's and monopoly. As it was, we were able to get out some of the time. Good change of scenery.

Is knots still at piano camp? Keen to hear all about it when you have time.

Knotty
I'm hoping Chris or another buddy videoed your end of week concert !

>>I have a question for you about triplets. I find they tend to muck up my counting in 4s. Is the counting in 4s concept temporarily suspended when you are doing triplets ?

Yes The triplets are stright. No feeling in 4s, Hopefully, you get right back on the train.
The tendency when playing triplets is to rush a little, so you want to make sure that you keep them nice and cool. DF uses Tennessee when saying triplets.

>>Is knots still at piano camp? Keen to hear all about it when you have time.
I'm back, and had a blast. You will be there next year !!

>>I'm hoping Chris or another buddy videoed your end of week concert !
Nobody loves me

Thanks for your advice Knotty. My current Hanon is totally triplets. I will post soon so that you can tell me whether I'm rushing.

For All the Things You Are, do you remember which record you chose for learning the head ?

this should do it
http://www.youtube.com/watch?v=1gG0hH57TxI

++

oh yeh, that does it for me, thank you !

Hi knots and custard,

I wondered if you good people could look over the chords I am going to use for Lady Bird:

Cmaj7|Cmaj7| F-7|Bb7
Cmaj7|Cmaj7|Bb-7|Eb7
Abmaj7|Abmaj7|A-7|D7
D-7|G7|Cmaj7 Eb7|Abmaj7 Db7

This is from my real book. I think I know what I'm doing apart from the Db7 at the very end of the turnaround. I know it's only 2 beats, but somehow I just don't know what to put there.

Hey 10,

That's call the Lady Bird turnaround. It's basically a reharmonization of 1 6 2 5 (all a flat5 away). Some people play major chords instead of dom7, but those you got are good.

For the Db7, our good friend the Db7 lydian dominant will work here, which is very close to the AbMaj7 you were in already. Often a good trick is to look at the melody and see which scale will work on top of the Db7. Also look at the scale before because more often than not, it stays pretty close. In fact, if you used a Dbmaj7, you could stay in Ab.

You could also play E-7 A7 D-7 G7 but that would be missing the point. So don't :-)

Thanks knots. Somehow, I just knew it had to be a lydian dominant.

Thanks for explaining the reharm, all I had got was that I was in Ab.

So, I could use Dbmaj7, stay in Ab.

Or, I could use Db7, that would be Db lydian dom (aka Ab mel minor).

The written melody here has a rest.

I love the chords in this one, somehow it feels more grown up.

Yeah, so on your downtime, listen to this:
http://www.youtube.com/watch?v=chJgX7KzxlA

This is really really awesome. Also, you'll note he plays your changes with the db7

Lydian dominant is generally a good bet

the guy actually has the transcription inside that video. you'll see he marks it as E-7 instead of Cmaj7, and marks it a Db7#11. Fats also uses a G natural (#11) on the downbeat which is a good indication of the lydian sound.

btw, the tune Half nelson uses the same changes, so learn one, get one free!!

Ah, I knew I knew it from somewhere - I sang that in lesson 27. Thanks for all the info.

Yeah 10, I agree with Knots that choosing notes from the lyd dom scale is one of the most versatile ways of handling this turnaround.

Hi Knotty
If you have time in the next couple of weeks, I'd be grateful if you'd let me know whether you like my chords for ATTYA.

https://www.box.com/s/f2677f5bbf05af7db9ca

https://www.box.com/s/294f3fe25991d0ddd682

Thanks !