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06-19-2024 02:02 PM
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Ok, Bop Head didn't catch your edit.
Here's Gershwin playing IGR (in Db) a year after he composed the tune:
Red Nichols recorded it early on in F. The first version of the changes in Bb may be Sidney Bechet's 1932 "Shag" - more a jam than a contrafact. That seems to be the template for most later renditions.
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Just curious, are you doing the circle fifths (CGD...) or fourths(CFBb...)?
I always did the fourths because I think of the flats as jazz keys, so far the big band hasn't done any # keys, lots of Db.
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Not quite done with my first pass through the circle of fifths, but we're doing the beach next week, so I figured I'd drop this in a little early. I'll just do whatever key I feel like for these, with the only rule being that I won't do it in Bb. This one is Eb ... fastest backing track I could find is 180, so not made about that.
Changes are ...
I7 -- -- --
I7 IV7 I7 V7
bridge as usual.
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A new short video from Jordan Klemons on point:
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Gershwin was an excellent pianist so I imagine that version could be the urtext that served as the source of his later Girl Crazy arrangement. Incidentally, the tune was written with a slower tempo in mind for an earlier musical, Treasure Girl but discarded from the production before it went to the stage.
Just to confuse matters, the Girl Crazy instrumental intro is in Bb but moves to F once Ethel Merman enters. Maybe it was originally in Db and transposed up to suit Merman's vocal range?
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Originally Posted by PMB
Actually they used to it in opera. Frowned on now, of course everyone has to sing the notes, and it’s all very strict with fachs etc.
Sent from my iPhone using Tapatalk
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Beautiful... if you like that kind of thing
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^ Peter suggested:
I'd suggest playing with the tonality and not necessarily only play 7s. Also try to outline different chords sporadically.
Peter, I'm happy you started this thread. Rhythm changes were killing me for a while, but suddenly they clicked and are fun. I'm soloing freely on them. Trying to work up No Mo to have a legitimate tune to post. I used to work only jazz blues as my exercise tune but now it'll be jazz blues and rhythm changes. Christian suggested I add rhythm changes in addition to jazz blues a while ago but that was when I was still dying on them.
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This is not good thumbnail game
I got a bit carried away.
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I guess that's sort of what I did. Part of the reason I like to think of these bigger tonal areas is because "Eb7" to me isn't really going to look like Eb G Bb and Db all the time. There will be those big four arpeggios off each of those chord tones, there will be minor thirds moving (not as much in this take, I don't think) there will be some blues stuff, there will be some side-slipping, etc etc.
So that's generally the logic behind simplified chord progressions like this.
Polyrhythms
Today, 08:43 AM in Theory