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Originally Posted by mr. beaumont
Originally Posted by lawson-stone
Originally Posted by pamosmusicLast edited by Bobby Timmons; 05-01-2024 at 12:53 AM.
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05-01-2024 12:27 AM
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The melody of Donna Lee IS soloing material
Sent from my iPhone using Tapatalk
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Yes it is. Ideally combined with some fluency of the changes I would say.
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People practice scales and arpeggios don't they? Perhaps I'm naive.
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Originally Posted by Christian Miller
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Originally Posted by Christian Miller
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I had a repeated listen of Donna Lee this morning.
I hear a lot of players using a triplet for the opening notes, but my ears are telling it's not a triplet.
Answers please?
Or, does it not really matter.
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Originally Posted by GuyBoden
Your guy might be doing an eighth note followed by paired sixteenth notes?
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Originally Posted by Jimmy Smith
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Originally Posted by pamosmusic
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Originally Posted by Christian Miller
It's probably the most (over)used bebop lick of all times. It's also one of the common guide tone patterns discussed in educational materials (Randy Vincent, Bert Ligon etc).
The exact same thing happens in bar 16 ( Eb7-> Ab). It's just the same arpeggio up from the third, down to the third of the target with the cliche b9 #9 trill. This time without pivoting. I think there is a slight mistake in the Eb7 arpeggio in the sheet. The arpeggio form the third repeats Bb instead of going up to Eb.
I find analyzing a line over Eb7 oriented to Eb7 easier than seeing it as a Gb7. Maybe this is another one of our parallel-derivative clashes, lol. Just putting it out there as an alternative analysis.
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Alright … on the topic of Donna Lee being vocabulary in its own right, here’s a bit on how I end up raiding stuff like this for ideas. Using m13-14 in this case:
For what it’s worth, this might be idiosyncratic, but I think comes from my tendency to think about chord tones (upper structures too) rather than about scales in a linear way. So it would probably (?) be a different approach from what Christian might come to from the more linear analysis.
(Yes, I did get 80% of my hair cut off between this video and the last)
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Originally Posted by Jimmy Smith
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Originally Posted by Tal_175
The scale is the Ab7 to the third of F7.
Barry Harris was allergic to compound interval notation haha. I'm trying to think how exactly he would have described it...
It's probably the most (over)used bebop lick of all times. It's also one of the common guide tone patterns discussed in educational materials (Randy Vincent, Bert Ligon etc).
The exact same thing happens in bar 16 ( Eb7-> Ab). It's just the same arpeggio up from the third, down to the third of the target with the cliche b9 #9 trill. This time without pivoting. I think there is a slight mistake in the Eb7 arpeggio in the sheet. The arpeggio form the third repeats Bb instead of going up to Eb.
I find analyzing a line over Eb7 oriented to Eb7 easier than seeing it as a Gb7. Maybe this is another one of our parallel-derivative clashes, lol. Just putting it out there as an alternative analysis.
It took me a while. But the benefits have been worth it. There's a whole slew of things a bit like this lick that I just chunk into the Gb7 scale. It's not easier in the short term but if you have spent any time with the dominant scale there's instantly a million things you can play on a minor II V I with all the fancy added note rules and whatnot for no extra investment in practice time. Or any II V I for that matter. But for while it is a bit like converting Centigrade into Fahrenheit.
Not all licks of this type contain the third of the dominant either. Barry was quite into not using the third of the dominant in fact.
In the short term you can plug this lick into any dominant, and should. Immediately. Right Now.
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Originally Posted by Christian Miller
Originally Posted by Christian Miller
Originally Posted by Christian MillerLast edited by Tal_175; 05-01-2024 at 12:04 PM.
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Originally Posted by Mick-7
And yeah … Miles would’ve been 21 on this recording I think.
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Originally Posted by Christian Miller
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Originally Posted by Mick-7
I don’t like to learn the Parker/Davis takes by ear.
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So here's my mm1-14 played with the backing track at about 170. Still fumbling mm. 5-6 still but otherwise feeling pretty good about trying to advance the tempo a little more each day. Also, really loving the sound of the Seymour Duncan PhatCat pickup (P90 in Humbucker case) on the Epiphone Zephyr Regent re-issue through the Fender Tone Master Twin Reverb.
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Originally Posted by lawson-stone
What string gauge do you have there, 13's? Look pretty thick.
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Originally Posted by AllanAllen
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Originally Posted by Mick-7
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Originally Posted by mr. beaumont
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Originally Posted by Mick-7
Personnel: Barry Ulanov And His All Star Metronome Jazzmen
Fats Navarro tpt; Charlie Parker alt; Lennis Tristano p; Billy Bauer g; Tommy Potter bs; Buddy Rich d.
WOR Mutual Studios, New York City - Saturday, November 8, 1947.
Online discographies suggest that the earliest version by Bird was with Dizzy in 1945, but I can’t find that anywhere. (It’s on the Philology label so is probably some kind of bootleg/broadcast type thing.)
three fingers technique
Today, 07:56 PM in Guitar Technique