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None. There are no expectations whatsoever. The audition is very laid back. I did not feel stressed at all. I honestly don't think you could fool them. I auditioned with Steve Allee who's a great pianist, very clear teacher, obviously generous with his time and overall nice guy.
He gave a great masterclass on chord subs and altered dominants.
There's stuff for everyone there. The basic Aebersold class is great for all levels. That's considered the basic theory level, yet he will get you to recognize chord progressions and chord tones and that's not easy. Baker's class was one of the advanced class and it was a blast. His stories are endless. His knowledge is incredible. We covered bebop vocabulary, coltrane's language and reharms, and mcCoy's approach to pentatonics. Also how to learn tunes well. Chris went to the most advanced class led by somewhat else, on -I believe- mostly lydian concepts. I think he had a blast too.
Piano specific classes will go from shell voicing to slash chords. The Laverne slash chord class was super intense. There are also piano classes for non pianists that a lot of guys enjoyed.
I would say about 1/3 of the students had been there before. And about 50% were under 18. Some came with their parents, also students, and that was very cool. 2 guys that played real well were father son (piano + sax). I thought that was the coolest thing.
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My teacher studied under David Baker so that's really cool. Steve Allen still active. Wow -- he's up there in years. In fact they all are.
So what's the best preparation for these camps? (so you get the most out of it). Obviously, going there to learn basics you can work on at home would be a waste.
Are those kids hotshots?
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>>Steve Allen still active Steve Allee. He's not that old.
>>So what's the best preparation for these camps? (so you get the most out of it). Come with a lot of questions. Someone has the answer. Have open ears and open mind. Listen to all the concerts. And talk about them as much as you can. The concerts themselves are worth the admission. Seriously. Seeing Liebman live was quite an experience.
>>Are those kids hotshots? Some are. Some not. Some are there I think just because you gotta do some camp, some are there because they dig Jazz. Some do not know who Hank Mobley is, many dont' even own kind of blue. There was a singer there who had never heard the tune Body and Soul. That's a little confusing to me. But in many instances, the close interaction and presence of guys like Liebman, Rufus Reid or Tyrone Wheeler is enough to spark strong interest. Some kids got the omnibook down though... Chris Potter attended the camp as a student. So you never know who'll be there.
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Yeah, when I looked at the pricing of the Aebersold camp, my first thought was how could Jamey make money ? Jamey really seems to put on this camp each year out of generosity. All those masters teaching and putting on amazing concerts. It must be a very memorable experience.
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>>So what did it tell you about what your weaknesses are? I don't know the melodies. I need to develop more voicings, arrangements, and polish my endings. I don't know theory nearly as much as I thought I did.
Thanks for explaining more about the Aebersold camp, Knotty. My problem is that I don't know the melodies while I play the solo. I think I will change the way I practise. Still woodshed on scales, arps + do a couple of compositions.....but have them relate to the tune. I've noticed for masters such as Jacky Terrasson, often the transition between head and solo is seamless, in that the solo refers constantly back to the melody. What do you mean by needing to polish your endings ?
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Posting more music...anybody else? Comments welcome. Invitation - played at a jam http://soundcloud.com/jazzwee/invitation
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Cus,
Basically do a little more than whatever the fake book might say. Allee showed us a cool 6 niner ending. I wonder if anyone here knows what it it. Though I'm sure they would actually know the ending, just maybe not by that name.
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Thanks Knotty. As you know, my solos are still RH single notes. Do you think the 6,9 endings sound much nicer at the end of rich chorded solos ? Do you tend to do them for bars 31 and 32, or after bar 32 ?
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Why look for contrived endings? Just make melodies.
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Melodies are nice. New chord progessions are nice too.
The idea of the 6/9er is to delay the resolution so you would use it before you last major chord, replacing it with the 5b. Stock edings like that are good because they're really rich and you can count on others to know them.
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Oh I think I know what you mean. So alter the dominant with a b5 ? I really like the at-home sound of the 6,9. After so much tension and often up-tempo virtuoistic stuff happening in everyone's solos, this type of resolution gives the tune a very satisfying ending.
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>>Oh I think I know what you mean. So alter the dominant with a b5 ? not quite. Say in F, tune ends on G-7 C7 F and the melody is F Instead of going to an F chord, you go to F note, but sub the F chord with the b5 sub, which is B, in this case, that would be B half dim with the F on top. Then move down to find your way back to F chord.
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Say in F, tune ends on G-7 C7 F and the melody is F Instead of going to an F chord, you go to F note, but sub the F chord with the b5 sub, which is B, in this case, that would be B half dim with the F on top. Then move down to find your way back to F chord.
Not quite sure what you are saying here. What does finding your way back to F mean? Diatonic chord movement (down? Up?) How many beats? bars? |G-7 C7| FMaj7 | FMaj7 | change to something like this? |G-7 C7| ?????? | FMaj7 | When we play, some of this comes out of listening to each other and things just happen. Just have to have good ears I guess. Though I'm interested to know what this means exactly and why the reference 6/9 (which to me references a Maj chord voicing).
Last edited by jazzwee; 07/21/12 03:45 PM.
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JW, i was referring to this specifically:
[video:youtube]jJSJVDAwU90[/video]
6 niner refers to the 6 to nine week night jobs. Honestly, I think it's made up but it's as good a name as any.
The 5b can be thought as a 5b sub of the major you are going to. Or simply a chromatic down from 5 all the way to 1.
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JW, i was referring to this specifically:
[video:youtube]jJSJVDAwU90[/video]
6 niner refers to the 6 to nine week night jobs. Honestly, I think it's made up but it's as good a name as any.
The 5b can be thought as a 5b sub of the major you are going to. Or simply a chromatic down from 5 all the way to 1.
What a strange name for that progression! I think it might be an East Coast thing maybe? I've never heard anyone call it that here, and it is (was) played all the time when I was gigging some years back. I think also the name may imply a bit of cheesiness in that 6 to 9 would be cocktail hour, rather than more challenging cadence sounds. I actually prefer what I think are called Coltrane Changes for the end. You can find this on a tune like Sleeping Bee in the Legit Real Book, wherein the cadence to Cmaj would start on Ebmaj, to Abmaj to Dbmaj finally to Cmaj. Please correct me if I'm wrong about the name. I'm notorious for saying things that make little sense...
Last edited by scepticalforumguy; 07/21/12 05:27 PM. Reason: further thoughts
Recordings of my recent solo piano and piano/keyboard trio jazz standards.
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Skep, yes, I think you're right about the cocktail / cheesiness, it's probably where the name comes from.
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I actually prefer what I think are called Coltrane Changes for the end. You can find this on a tune like Sleeping Bee in the Legit Real Book, wherein the cadence to Cmaj would start on Ebmaj, to Abmaj to Dbmaj finally to Cmaj. It's called a Tadd Dameron turnaround.
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I think also the name may imply a bit of cheesiness in that 6 to 9 would be cocktail hour, Better than workin' a 9 2 5 . . .
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The 5b can be thought as a 5b sub of the major you are going to. Or simply a chromatic down from 5 all the way to 1. Jarrett uses this in his solo version of Over the Rainbow.
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JW, i was referring to this specifically:
[video:youtube]jJSJVDAwU90[/video]
6 niner refers to the 6 to nine week night jobs. Honestly, I think it's made up but it's as good a name as any.
The 5b can be thought as a 5b sub of the major you are going to. Or simply a chromatic down from 5 all the way to 1.
Yeah that's just a 7-4-3-6-2-5-1 using tritone subs. Or I would have understood it as 3-6-2-5-1 (tritone sub would just be heard and assumed). You're right. That's pretty common. Used a lot for intros too. What the heck is the connection with 6-9er? We should do a terminology discussion one of these days. May be some east/west coast differences. BTW - reminds me that here on left coast, I haven't had ANYONE call Rhythm Changes (any version). NOT ONCE. In YEARS. In contrast, Girl from Ipanema gets called 10,000 times. How about on the East Coast? Or even further east to UK/Sweden?
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Piano
by Gino2 - 04/17/24 02:34 PM
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