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that's totally cool Nahum) Can you tell us some more about him as a person?
In those days, I did not have English to communicate directly with him; however, he came across as a very calm person with a sense of humor. During these years MC lived in Paris; and for the second round he brought his girlfriend - a French woman of 22 years old; and Rolls Royce Model 71, very luxurious and too fast for the distances between traffic lights in Israel; but with a stereo system at the level of the recording studio.
I see a specific problem in the order of material in Improvising Blues Piano: the first exercises are aimed at both blues beginners and piano novices; and lack the typical blues signs in both hands. The stylistic left hand appears only on page 18, and the right one - on page 22. But if we base ourselves on the natural course of events in childhood in a music school for me and my fellow students; and later, over the years, in various music schools in our district and elsewhere; then the initial formula was always the same for everyone: || C E G A | Bb A G E | etc for the harmony of the blues - first in the form of a walking bass, then in broken octaves between the hands, and finally only with the left hand.
I think that O. Peterson's super virtuoso blues playing existed separately from his vocal concept, built on the imitation of Nat King Cole; which led to the overload of the melodic line.
Well that's amazing, I've never heard Sandy's Blues before and I own dozens of Oscar Peterson albums. What a great track. On the same level as his playing on The Trio album with NHOP and Joe Pass.
RinTin - thanks for posting it. You win the understatement of the century award for "Not the place to start" :-)
School Boy Porter was one my mentors. He always had 3 1/2 pints of whiskey at our gigs one for the drive and set-up time one for the gig and one to get back home. It was funny until he started to pass out. I remember on a gig a bat mitzvah at the Pointe Resort in Phoenix and we were playing Girl from Ipanema and I finish my solo and looked up to give School-boy a nod and he was nowhere to be seen. I frantically look to the flute player and he pointed out to the audience there was School-boy twirling the girl that party was for. He kept doing that laughing all the time and she was also. Her parents that was a different story I wished we had cell phones in that day to take pictures, the horrific looks on the faces as I glanced around was priceless.
Scubapro get mentor or teacher call your union local and start there I am sure you can find someone.
I have a question regarding the basic 12 bar blues progression (1111 44 11 5 4 11)
I'm working on using a basic walking bass in the left and improvising something in the right.
It seems to only sound "correct" to me if the walking bass is done with the first note of the chord being the root. That is, if the key is C, then I play either CEGC, or maybe CGCC, then for the F, the first note played in the left is F, etc.
Is it typical that a walking blues pattern in the bass is usually played beginning with the root note?
I am not a beginning player, but I am definitely a beginner for anything other than classical music. I know that blues is improvisational, so there aren't hard and fast rules, but remember, I'm new at this, and I'm learning the basics of the style.
There are certain rules when you walk the bass on the piano but if you have a bass player in the the group try and stay away from the root and the fifth when playing together.
Jazz bassist here. Walking basslines often (perhaps even usually) start on the root. It's not a strict requirement, though. In jazz, where things get a little fancier, it's not at all uncommon for the first note to be another chord tone, especially the 5th or 3rd. In blues, that's less common, but not unheard of, especially if you're playing the same chord over multiple measures, when you might use a two-measure bass line (e.g., | R-3-5-6 | b7-6-5-3 | ).
Decent upright bassist; aspiring decent pianist Present: Roland DP-603, Roland FP-30, Yamaha MX61, Casio CDP-130 Past: Casio PX-830, Casio PX-160 Etc.: PianoTeq Stage 7 (Bechstein, Bluethner, U4), Roland KC-80
Thanks, that’s helpful. I don’t play with a group, I would just be jamming with family, with guitars and maybe a mandolin, so I guess in that situation, the piano could take the role of the bass player. For me, that’s good news, as I can pretty much manage in commonly used keys as long as the left starts on the root.
Right now, I’m not doing jazz or anything remotely fancy. If I make two trips through the chord progression without a bomb, I count it a success.
Those links have some good stuff, thanks for sharing them.
Jazz bassist here. Walking basslines often (perhaps even usually) start on the root. It's not a strict requirement, though. In jazz, where things get a little fancier, it's not at all uncommon for the first note to be another chord tone, especially the 5th or 3rd. In blues, that's less common, but not unheard of, especially if you're playing the same chord over multiple measures, when you might use a two-measure bass line (e.g., | R-3-5-6 | b7-6-5-3 | ).
The sophistication of the bass line in jazz is much higher than in the blues. Bebop broke the tradition of repetitive bass riffs into the Straight Ahead groove; the blues is built on them; the riff and its repeats start at the root. If the riff is half-bar or one-bar, then the root appears at 1 and 3, or at the beginning of each bar. If the riff is two bars, then each even bar may start on a different chord tone (strong bar - weak bar) , for ex. ||: C E G A| Bb A G E :||.
Jazz bassist here. Walking basslines often (perhaps even usually) start on the root. It's not a strict requirement, though. In jazz, where things get a little fancier, it's not at all uncommon for the first note to be another chord tone, especially the 5th or 3rd. In blues, that's less common, but not unheard of, especially if you're playing the same chord over multiple measures, when you might use a two-measure bass line (e.g., | R-3-5-6 | b7-6-5-3 | ).
The sophistication of the bass line in jazz is much higher than in the blues. Bebop broke the tradition of repetitive bass riffs into the Straight Ahead groove; the blues is built on them; the riff and its repeats start at the root. If the riff is half-bar or one-bar, then the root appears at 1 and 3, or at the beginning of each bar. If the riff is two bars, then each even bar may start on a different chord tone (strong bar - weak bar) , for ex. ||: C E G A| Bb A G E :||.
Glad we're in agreement, almost word for word!
Decent upright bassist; aspiring decent pianist Present: Roland DP-603, Roland FP-30, Yamaha MX61, Casio CDP-130 Past: Casio PX-830, Casio PX-160 Etc.: PianoTeq Stage 7 (Bechstein, Bluethner, U4), Roland KC-80
Yes, I somehow didn’t read your last sentence, sorry! At the same time, working on the bass line requires studying the scale of the relationship between strong and weak points, where the chord root appears in the strongest points. However, units of count can range from quarter , half a bar, a whole bar, two bars (as in the example), and up to four bars (which is typical for jazz). I have not seen larger units.
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Walking basslines often (perhaps even usually) start on the root. It's not a strict requirement, though. In jazz, where things get a little fancier, it's not at all uncommon for the first note to be another chord tone, especially the 5th or 3rd. In blues, that's less common, but not unheard of, especially if you're playing the same chord over multiple measures, when you might use a two-measure bass line (e.g., | R-3-5-6 | b7-6-5-3 | ).
