Time After Time - Jazz Ballads by Jeff Arnold - Tune #2

[Mick-7]

"I don't think his chords are especially hard."

Yes, I'm not seeing much that's difficult in this arrangement, may have been thinking of Here's that Rainy Day. But if one wants to play it at a faster tempo, some of the contrapuntal bass lines and voice leading will have to go. I prefer rhythmic and melodic variety to contrapuntal invention, didn't like the Tim Lerch arrangement for that reason, it did not swing.

[alpop]

Here's my first 16 bars:

I haven't memorized it yet so I'm still looking at the notation for support.

[Liarspoker]

Here's my first 16 bars:

I haven't memorized it yet so I'm still looking at the notation for support.

Sounds great alpop. It'll be fun once we know this tune so we'll to the point that we can Improvise with it.

Are you still playing Rainy Day. Make sure to play it every day even just once and yes, start varying it now.

Unfortunately my nail is still a little sore but I might try to use it today. I have been practicing 'those three chords' with a pick

Yesterday I took the kids to play soccer and knowing that I'd tire before them took the guitar to practice in the car. I only got a few reps in before the kids came back to the car.

In other news we had a great Deep Dive with Tim Lerch last night. He makes everything look so effortless which is a sign of a great player plus he's such a tasty player.

Edit: I'm just playing TAT with a pick and having some success. I may have to take this approach this week as weird as it feels

[Mick-7]

First take, still trying to figure out my old Zoom recorder - and where did my favorite pick go?! (I play with a plectrum so can't use the broken nail alibi). I played the entire tune with intro and ending but obviously not up-tempo as I promised, will have to abandon some counterpoint to do that.

An mp3 of my rendition: Box.com

[lawson-stone]

Here's my first 16 bars:

I haven't memorized it yet so I'm still looking at the notation for support.

Nice indeed! Very clean and the voice leading stands out wonderfully.

[Mick-7]

I just realized that I inadvertently skipped a couple of chords in bars 9-10 of Arnold's arrangement. I'm gonna have to look up recordings of this tune on YouTube, the melody in some places is unclear to me.

[alpop]

Nice indeed! Very clean and the voice leading stands out wonderfully.

Thanks for the kinds words. It's encouraging. Unless something comes along to derail me, I should be able to have the whole tune by Sunday.

[lawson-stone]

I just realized that I inadvertently skipped a couple of chords in bars 9-10 of Arnold's arrangement. I'm gonna have to look up recordings of this tune on YouTube, the melody in some places is unclear to me.

I just used the Real Book lead sheet and highlighted the melody on Arnold's chart. Easy.

[Mick-7]

Nancy's rendition is very soulful - and has a guitar in it, which makes it a sure thing.

[lawson-stone]

I've spent this afternoon working with the Coda section and have come to appreciate the way Arnold has constructed this section. There is some very nice voice leading, some nice syncopation, a full statement of the melody, and the bass line is fun. All the devices in this tune I have heard used in performances by people like Joe Pass. All this stuff can be used in other tunes and be part of our chord-melody improvisational tool box.
I think I'll have the whole tune down Tuesday or Wednesday and hope to post it then.
Hang in there folks, don't be discouraged. Just go measure by measure, get it right, don't hurry. Don't jettison parts of the arrangement that are harder; that's often where the really good ideas are.

[alpop]

I've spent this afternoon working with the Coda section and have come to appreciate the way Arnold has constructed this section. There is some very nice voice leading, some nice syncopation, a full statement of the melody, and the bass line is fun. All the devices in this tune I have heard used in performances by people like Joe Pass. All this stuff can be used in other tunes and be part of our chord-melody improvisational tool box.
I think I'll have the whole tune down Tuesday or Wednesday and hope to post it then.
Hang in there folks, don't be discouraged. Just go measure by measure, get it right, don't hurry. Don't jettison parts of the arrangement that are harder; that's often where the really good ideas are.

Great advice. This is a very nice section.

I'm getting my fingers under this stuff now as well and it is quite gratifying to play when you get it right.

[Mick-7]

I've spent this afternoon working with the Coda section and have come to appreciate the way Arnold has constructed this section. There is some very nice voice leading, some nice syncopation, a full statement of the melody, and the bass line is fun. All the devices in this tune I have heard used in performances by people like Joe Pass. All this stuff can be used in other tunes and be part of our chord-melody improvisational tool box.
I think I'll have the whole tune down Tuesday or Wednesday and hope to post it then.
Hang in there folks, don't be discouraged. Just go measure by measure, get it right, don't hurry. Don't jettison parts of the arrangement that are harder; that's often where the really good ideas are.

Yes, it's nice, but I don't like the part where he moves up the fret-board from the Fm6 to Em7/Am7 and plays open E & A strings for the bass line, and has the bass line leap up and down a minor 9th (ugh!) & 7th. I changed that part and continued the descending bass-line, from Am7/F#m7/Fm6 to Em7 - bassline: A-(G)-F#-F-E.

And I changed the Fm6 to a Fm13 (F-Eb-Ab-D) for voice leading purposes - going to Em7 (E-(B)-D-G-D) - plus the Fm13 is easier to get to (from the F#m7b5) than his Fm6 voicing.

I posted my chord progression in a previous post but here it is again:

[lawson-stone]

Yes, it's nice, but I don't like the part where he moves up the fret-board from the Fm6 to Em7/Am7 and plays open E & A strings for the bass line, and has the bass line leap up and down a minor 9th (ugh!) & 7th. I changed that part and continued the descending bass-line, from Am7/F#m7/Fm6 to Em7 - bassline: A-(G)-F#-F-E.

And I changed the Fm6 to a Fm13 (F-Eb-Ab-D) for voice leading purposes - going to Em7 (E-(B)-D-G-D) - plus the Fm13 is easier to get to (from the F#m7b5) than his Fm6 voicing.

I posted my chord progression in a previous post but here it is again:

Try as I might I just can't hear chord diagrams. You need to stop talking so much and start playing. Anyone can type a solo.

[Liarspoker]

I'm back in the saddle as of this morning. Will get cracking and will hopefully have something decent to present on Sunday.

[alpop]

I'm back in the saddle as of this morning. Will get cracking and will hopefully have something decent to present on Sunday.

Glad that you're able to play again!

I have pretty much got this memorized now, so I should be good to go by Sunday as well. I have a short intro as well.

[Mick-7]

Try as I might I just can't hear chord diagrams. You need to stop talking so much and start playing. Anyone can type a solo.

I shared a rough take of the tune in a previous post in which I played the ending in my chord diagrams. However, I'd play it differently now that I've heard a few recordings of the tune and understand it's nuances. And the guitar I played seems to have an intonation problem so I'll use another.

So take 2 (or 3) will be coming soon to a forum near you....

Mick - Time After Time: mp3 @ Box.com

[lawson-stone]

I shared a rough take of the tune in a previous post in which I played the ending in my chord diagrams. However, I'd play it differently now that I've heard a few recordings of the tune and understand it's nuances. And the guitar I played seems to have an intonation problem so I'll use another.

So take 2 (or 3) will be coming soon to a forum near you....

Mick - Time After Time: mp3 @ Box.com

Nice tone on that take. That ending is one I use on tunes that end on the tonic note of the scale. Arnold's ending is more like a Count Basie ending, and I'll be switching it up a little to the more classic Count Basie ending on my take.

[Mick-7]

Nice tone on that take. That ending is one I use on tunes that end on the tonic note of the scale. Arnold's ending is more like a Count Basie ending, and I'll be switching it up a little to the more classic Count Basie ending on my take.

"That ending is one I use on tunes that end on the tonic note of the scale."

Tonic note? It does end on I Major, his last chord is C 6/9 with the 5th (G) on top.

But bar 8 of his Coda where he goes from Fm6 with F in the bass, to Em7 with E in the bass (i.e., the open E string, a minor 9th lower) is... ghastly.

[lawson-stone]

"That ending is one I use on tunes that end on the tonic note of the scale."

Tonic note? It does end on I Major, his last chord is C 6/9 with the 5th (G) on top.

But bar 8 of his Coda where he goes from Fm6 with F in the bass, to Em7 with E in the bass (i.e., the open E string, a minor 9th lower) is... ghastly.

You're not paying attention. I'm talking about the last note of the TUNE. i.e, the MELODY. You can play a descending chromatic line of chords with the final note on top resolving to the I chord.

[Liarspoker]

Here is my progress video after starting back on it this morning. Be warned it's fairly rough and the sound is terrible as it's just a phone video.
Lots of improvement needed before Sunday.

Edit. I'll be taking this video down in a day or two

[lawson-stone]

Here is my progress video after starting back on it this morning. Be warned it's fairly rough and the sound is terrible as it's just a phone video.
Lots of improvement needed before Sunday.

Edit. I'll be taking this video down in a day or two

Hey nothing to be ashamed of there! You have the arrangement in place and you play it with a solid flow. I personally would dial back the reverb some but that's just an individual preference. Love the telecaster! I'll have to bust out mine at some point. I actually think the last section is easier to play on the longer scale of the Tele or L5 than on the short scale like the 175.
I think yours is the first clip to actually play the whole arrangement, as written, all the way through. Congratulations!

[Mick-7]

You're not paying attention. I'm talking about the last note of the TUNE. i.e, the MELODY. You can play a descending chromatic line of chords with the final note on top resolving to the I chord.

Yes, you did say tonic "note"... so after the last G7(b5), are you thinking of something like this?

x-x-5-5-5-8
> x-x-6-8-6-8
> x-x-7-8-7-8
> 8-x-8-9-8-8

[Mick-7]

Here's my next take with the sort of ending that Lawson suggested (thanks!)

Time After Time, Take 3 (Basie ending): TAT Take 3 - Box.com

I'm playing an 80's Korean super-strat (unknown brand) that I bought for $100+ on eBay a long time ago, through my Yamaha G100 III amp, and it sounds as good or better than my arch-top through it!

By the way, I was viciously attacked by a C7#9 chord at the end of the tune, it's true that I invited him in but I was told he was mild-mannered!!

[Bobby Timmons]

^ Sounds good, that's the first clip I've heard from you. But why's it all wimpy and quiet? Jk. I hope that C7#9 chord didn't pounce you too badly.

[callouscallus]

My contribution to this group. Let's keep it up!