(The big difference I would say is the mastery of the diminished chord.)īut it’s the same thing - modular harmony, transplantable lines, ignore the original melody’s harmonic implications.
Progressions that seem random in the ii v approach suddenly make total sense. Here is my transcription of Clifford Brown on Joy Spring from his album: Clifford Brown and Max Roach.Find me on instagram oscarebruten5 to purchase tra. The handling of minor ii Vs for instance, is brilliant imo. So I tend to think of the ii v thing as a really good trick that caught on because it was easy to teach and use.Īnyway the ii V concept, is encapsulated by Barry Harris thinking in the dominant scale - but in terms of line building I find it a bit more flexible and less clunky. tame example but keep applying that logic and you end up with Benny Golson. Stella is the obvious example.Īn important early example of dim -> sideslip is probably Groovin High were the original turnaround Gm Gbo7 Fm Bb7 is subbed Gm7 Gbm7 Fm7 Bb7.
JOYSPRING TRANSCRIPTION DOWNLOAD
You need to download the free Finale Notepad to hear/see the solo.
Wiggy video click to open in a new tab Dan Adler Ornithology Solo (Youtube) ‘Ornithology’, opens in a new tab Udo Wiemann has transcribed my solo on Ornithoogy which I played on Youtube.
JOYSPRING TRANSCRIPTION PDF
Obviously they knew the melodic minor relationship, but it had never occurred to them to turn the relationship around.)Īnyway, it seems manifest people were relating minor and dominant (and what modern educators call m7b5) since the 1920s.Īnd yet I feel that the heavy ii V thing really comes in later (obviously you get more ii Vs in post bop accompaniment.) Specifically I think in terms of subbing for dim7 chords. You can get a PDF of the transcription from Udo Wiemann’s Website. (I did have to show a student that they could play dominant bebop language on minor. That said relationship between minor and dominant is a pretty fundamental thing to understand for any jazz musician and predates the bop era. Sent from my SM-J727P using TapatalkThat sounds about what I expected.
The tunes are selected randomly and are nothing more. Some are just a riff or a pattern that Bilbo transcribed for his own purposes.
JOYSPRING TRANSCRIPTION FULL
Some of the charts are full transcriptions whilst some are just a bass solo or a solo by another instrument (trumpet, sax, trombone etc). You are here: Home 1 / Transcriptions 2 / Harmonica 3 / Joy Spring. The purpose is to help and encourage bass players to LEARN TO READ MUSIC. Home Transcriptions Musicians About Login Search Menu Menu Transcriptions. subbing in chord patterns which "reference" a different tonal area. The transcription is from the 1993 album Airegin. This is a big part of his "creating relationships". There's that, but there's just as much a related "would-be V7#11" to be put behind minor chords. There's often an over-focus on "throwing a II-7 in front of everything".
We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support!This is the way Reg talks about it, in both senses: 1)that it was a BANDSTAND thing in terms of development and 2)that it's about the sub "relationships" that it creates. We will also be bringing you many extras exclusively to our patrons including transcriptions and a FREE gift of our latest Ebook, The Diatonic Method. Head over to our Patreon page and when you donate $3 or more a month you get this PDF and every other. WANT THE PDF THAT GOES ALONG WITH THIS EPISODE? Don't fret though, the full transcription is located on our Patreon page, so click the link below to get your hands on it today! Instead of looking very closely at a lick or piece of vocabulary, we will be talking about some of the larger issues and concepts that make Gary's playing so amazing. This one is a bit different from our usual lick of the month series. Gary plays an amazing version of Clifford Brown's Joy Spring on his Instagram page and we are using that as the basis for this episode. This week features one of my favorite Trumpet/Flugelhorn players from Bristol, UK, Gary Alesbrook.