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Interesting. I hear it as a Abm Dorian over the C7. So if he's playing Gm7 - C7 he plays Gm Dorian then side-slips up to Abm Dorian over the C7, imho it sounds good if one doesn't use the device too much and that it's used at a fast tempo. (he uses this device on ATTYA a -lot). Actually B major does makes more sense, as it tritone leads to the F. He probably does that as well, experimenting with superimposing different changes or subs on the original chords. instead of Gm7 | C7 Gm7 C7 | C sharp m7 F sharp 7 or Gm7 Abm7 | Db7 C7 I expect there are plenty of others he also uses.
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instead of Gm7 | C7
Gm7 C7 | C sharp m7 F sharp 7
or
Gm7 Abm7 | Db7 C7
I expect there are plenty of others he also uses.
I thought I heard the 2nd one. I only recognized it because I was working on it. This is really neat stuff. In effect, it sounds like you're outside only for half a bar. Now the first one is another new concept to me. Won't the B natural in there clash with the concept of C7Alt of some sort? This one would seem to make more sense. Gm7 C7 | Abm7 Db7 Since it's now noticeable to me, I suppose overuse of the device would be an issue. But when I didn't know about it, it sounded fresh.
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Hey Redux. Just jump right in!
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Btw - These KJ recordings sound like the ones from the LA concert! In fact, one with the encore #1 link, I heard KJ say those words. Also the photos were the same publicity photos in the LA times.
Pretty amazing.
And he played Green Dolphin and My Funny Valentine. So these recordings are just from last week. What a treat!
EDIT: As I figured the people doing these recordings are students from UCLA. This person was sitting way up front it seems.
Last edited by jazzwee; 11/04/11 11:15 AM.
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instead of Gm7 | C7
Gm7 C7 | C sharp m7 F sharp 7
or
Gm7 Abm7 | Db7 C7
I expect there are plenty of others he also uses.
Good ones BB, not to forget (working on "Have you seen . . " ) the old chestnut: Abm7 Db7 | Gm7 C7 welcome Redux, thanks for those links. (re: Jarrett, I can't wait for my copy of Rio to arrive: http://www.guardian.co.uk/music/2011/nov/03/keith-jarrett-rio-review
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EDIT: As I figured the people doing these recordings are students from UCLA. This person was sitting way up front it seems.
good thing KJ didn't catch them! wonder what he would have done. Been working on KJ's rendition of Wish upon a Star. http://www.youtube.com/watch?v=gyntl24zkZsThe intro is a C pedal point and melody and the inner voicings are great. Can anyone help me transcribe the left hand chords for the theme starting at 0:49? I am the worst transcriber, I can work out the melody but don't have perfect pitch and chords are always a problem. Even just the first few bars. I want to see what chord voicings he likes to use. His phrasing is so subtle and quiet but compliments perfectly.
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Now the first one is another new concept to me. Won't the B natural in there clash with the concept of C7Alt of some sort?
That is the point though, to take another step away from the original tonality. But you can't clash with a concept! If nobody is playing C7alt there is no clash. Actually I quite like the clash of C7alt voicing in Lh and Bmaj scale in RH but I wouldn't recommend it if you are getting started with this idea. For example.. You can hear Jarrett use this idea a lot in this version of autumn leaves (at 20 seconds, 48 sec, 58 secs, 2.02, 2.10, 3.25, 3.37, 4.12, 4.36, 4.48 etc) http://www.youtube.com/watch?v=io1o1Hwpo8Yinstead of Cm7 | F7 J is playing on C sharp m7 F sharp 7 | Cm7 F7 which is yet another way of using the same idea To my ears it really brings in a new slightly out sound.
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Been working on KJ's rendition of Wish upon a Star. http://www.youtube.com/watch?v=gyntl24zkZsThe intro is a C pedal point and melody and the inner voicings are great. Can anyone help me transcribe the left hand chords for the theme starting at 0:49? I am the worst transcriber, I can work out the melody but don't have perfect pitch and chords are always a problem. Even just the first few bars. I want to see what chord voicings he likes to use. His phrasing is so subtle and quiet but compliments perfectly. I did a lead sheet from that version once, no voicing but just the symbols. If that will help pm me your email and I'll send it.
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Now the first one is another new concept to me. Won't the B natural in there clash with the concept of C7Alt of some sort?
That is the point though, to take another step away from the original tonality. But you can't clash with a concept! If nobody is playing C7alt there is no clash. Actually I quite like the clash of C7alt voicing in Lh and Bmaj scale in RH but I wouldn't recommend it if you are getting started with this idea. For example.. You can hear Jarrett use this idea a lot in this version of autumn leaves (at 20 seconds, 48 sec, 58 secs, 2.02, 2.10, 3.25, 3.37, 4.12, 4.36, 4.48 etc) http://www.youtube.com/watch?v=io1o1Hwpo8Yinstead of Cm7 | F7 J is playing on C sharp m7 F sharp 7 | Cm7 F7 which is yet another way of using the same idea To my ears it really brings in a new slightly out sound. Thanks Beeboss. Very educational day. Autumn Leaves is a perfect tune to try this concept on. It stays on one tonality. And it's easy to think of the alternate scale. B instead of Bb. I tried to do it with ATTYA but it fried my brain 
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I tried to do it with ATTYA but it fried my brain It is very common in ATTYA Fm7 | Bbm7 | Em7 A7 | Abmaj7 etc
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I tried to do it with ATTYA but it fried my brain It is very common in ATTYA Fm7 | Bbm7 | Em7 A7 | Abmaj7 etc That example is even clearer. What I meant though was doing it on the fly on one bar like |F#-7 F-7| B-7 Bb-7| E7 Eb7 | But what you have laid out is easy to apply.
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BB, of course a tritone sub on a dominant is easy to think about but usually I'll do the in between ones too (minor thirds). The newer concept to me is to do this on non-dominants, especially to do it quickly inside a bar. I transcribed Autumn Leaves (that version you have) and clearly didn't understand what was happening back then (years ago) I do use ATTYA as my practice for dominant substitution.
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Now the first one is another new concept to me. Won't the B natural in there clash with the concept of C7Alt of some sort?
That is the point though, to take another step away from the original tonality. But you can't clash with a concept! If nobody is playing C7alt there is no clash. Actually I quite like the clash of C7alt voicing in Lh and Bmaj scale in RH but I wouldn't recommend it if you are getting started with this idea. For example.. You can hear Jarrett use this idea a lot in this version of autumn leaves (at 20 seconds, 48 sec, 58 secs, 2.02, 2.10, 3.25, 3.37, 4.12, 4.36, 4.48 etc) http://www.youtube.com/watch?v=io1o1Hwpo8Yinstead of Cm7 | F7 J is playing on C sharp m7 F sharp 7 | Cm7 F7 which is yet another way of using the same idea To my ears it really brings in a new slightly out sound. This is good stuff! Thanks beeboss for the specific examples in Autumn Leaves... I'll check them out and see what's happening there.
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Did some new recordings with my trio last night for our demo. This time we used separate mics for the drums and bass and I ran my keyboard direct into the mixer. It's still do-it-yourself stuff but I think it sounds better than the previous recordings. What do you guys think? http://www.box.net/shared/tky71p0yu3dmdols0gs8
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Does sound better Scott. Nice energy in the group! I notice you cut out Dolphin when the chords were really out of sync You picked a complex rhythm. LOL. (I do it all the time). Love Is -- that's the first ballad I've heard you do. That was very nice. 
Last edited by jazzwee; 11/04/11 05:53 PM.
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So what do you guys play on an ALT chord? Know any good licks? It's too easy to get caught up with the scale. Unfortunately it's not easy for me to think melodically on ALT scale. Triads?
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Did some new recordings with my trio last night for our demo. This time we used separate mics for the drums and bass and I ran my keyboard direct into the mixer. It's still do-it-yourself stuff but I think it sounds better than the previous recordings. What do you guys think? http://www.box.net/shared/tky71p0yu3dmdols0gs8 Sounding really good. Nice playing all round. I can imagine what it would sound like in a proper studio.
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Joined: Jul 2009
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So what do you guys play on an ALT chord? Know any good licks? It's too easy to get caught up with the scale. Unfortunately it's not easy for me to think melodically on ALT scale. Triads? I am trying not to play licks. I like triads though, lots you can do with them.
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So what do you guys play on an ALT chord? Know any good licks? It's too easy to get caught up with the scale. Unfortunately it's not easy for me to think melodically on ALT scale. Triads? I am trying not to play licks. I like triads though, lots you can do with them. It's easy to sound melodic without licks on a diatonic scale. But an ALT scale or H-W Diminished scale have some unusual intervals. I just wondered how you attack it. I suppose one could think of a melodic fragment on the diatonic scale and then think of it a half step up?
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I just try to play what I hear in my head.
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