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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 :-)
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.
Thanks Knotty. Once again, you've chosen a very nice song for me. This is going to be my workshedding song. I'm going to learn it in 3 other keys (usually I only do one other key). My drills will include starting each bar on the 3, and each bar on the 7.
Thanks Knotty, that's a very helpful insight. I didn't know how to treat the B dim in my Roman numeral analysis. But now I know it's only part of a chromatic sequence to get to the last cadence beginning with Bb.
Thanks also for your kool ending for ATTYA that you posted on you-tube. Those substitutes sound great.
Here is my latest Hanon, Lesson 33, all triplets at my challenge tempo of 108 bpm.
Loc: Elkins Park, PA
Wow Cus, Dancing lightly over the keys, you JH is quite musical. I look forward to hearing what you put on top of those cool ATTYA chords.
Meanwhile, I'm still wrestling with Lesson 9: Here's the blues tune: First time with a steady metronome clicking in my headphones and MIDI plugged in (so as not to wake the wife and kids), the second time with rhythm track, voice and computer mic (Recorded the next day, when the coast was clear, and no-one was within earshot).
Norm - you're swinging there! All sounds good and accurate to me, and I love your singing embellishments.
My own update: Really enjoying the changes for Lady bird, now on joi lesson 41. Also, I'm working on some Bill Evans tunes (Waltz for Debby and Very Early) from transcription. Lots of fun, only I do worry what the neighbours think, as I know I can be quite loud.
I am a competent teacher.
Woooohoooo Norm ! Your met work has really paid off, the rhythm was just fine. And I really liked your fun coda. For your new jazz song, There is No Greater Love, you can learn the swingin’ version of the head from Harry Sweets Edison. If you have spare time, listen to Sonny Rollins' emotional solo.
Hey 10 Whose transcription are you playing for Very Early ?
Knots, Norm and 10 Thanks for your nice words about my Hanon. Knotty: Did you mean I didn’t sound relaxed, or are you warning me to stay relaxed when I try for more speed ? The next Hanon is all triplets and even harder.
Knotty I'm glad you've brought up the subject of arrangements. Even though I haven't arranged for literally months, I've been thinking a lot about arrangements. At the beginning of the year I set myself the long-term goal of developing the tools for arrangements. To this end, I've learnt drop 2 voicings (90 days), and am about to finish on quartal voicings (45 days). What do you recommend as the next most useful tool for arrangements ?
Another question I wanted to ask you was about the masters; when the masters play arrangements do you think the arrangements are likely to have been largely pre-planned, or improvised ?
At this stage I don’t wish to do a full-blown arrangement. This is because I’m focusing my brain power on improv.
I really like your arrangements so if you plan to record It’s You or No-one, I’d love to listen to it.
Loc: Elkins Park, PA
Originally Posted By: custard apple
For your new jazz song, There is No Greater Love, you can learn the swingin’ version of the head from Harry Sweets Edison. If you have spare time, listen to Sonny Rollins' emotional solo.
Cus, Thanks for your kind comments, and for directing me to the the Sweets Edison edition. He added 23 fresh codas to his version, an amazing tour de force. Rollin grows on me, slowly, but surely. The version of Greater Love I came to first, however, was with Marc Thomas on vocals, and Ahmet Gulbay on piano. Here's a live version:
Every disease is a musical problem. Its cure, a musical solution. -- Novalis