Re: Rhythm Changes Analysis
Readers might also be interested in these articles:
about Gershwin's original "I Got Rhythm" and how his changes differed from the jazz standard ones (which you call "Original"):
about rhythm changes variations and contrafacts:
Regards,
Bob Keller
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--- In jazz_guitar@..., "Dave Woods" <david_woods@...> wrote:
Check it out. Dave Woods
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Re: Demise of Jimmy Bruno Guitar Institute
Hi Jeff,
Yea, I know, but I think generally folks would rather spend/invest in
CDs/DVDs/Books/Secret decoder rings/etc, before spending some of that money on
individual instruction. Just my experience/opinion... :)
Cheers,
JV
Juan Vega
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In a message dated 10/10/2010 2:43:12 P.M. Pacific Daylight Time,
jcshirke@... writes:
Not everyone has a good jazz teacher living just down (or up. ;) ) the
road, as I'm sure you know.
Jeff
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Demise of Jimmy Bruno Guitar Institute
This was posted on the Jimmy Bruno Guitar Institute recently:
"10/06/2010
By mutual agreement, Mr. Bruno and Affiliated Artists have determined that it is no longer feasible to continue the operation of the Jimmy Bruno Guitar Institute. The site will be open and fully operational until January 5, 2011, but not operational after that date. Your existing memberships will be fully honored but not renewable."
Despite initial statements that Jimmy Bruno and Affiliated Artists/ Artistworks remain on good terms, it does appear from some of the posts in the discussion forums on JBGI (not readable by non-members) that the wind up of JBGI is entirely non-acrimonious. Also, predictably, many of the members are not terribly pleased,
William
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Re: Demise of Jimmy Bruno Guitar Institute
As much as I love Jimmy Bruno's playing and his approach to
teaching/playing jazz guitar, I'm not surprised to find out about this. The Web is a
great tool/resource/etc, but there's just no substitute for personal,
in-the-room instruction, period.
Cheers,
JV
Juan Vega
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Re: Rhythm Changes Analysis
I like to hear diminished over the A section a la Charlie Christian and Sonny Stitt, and so on. Mainly, jazz guitarists need some cool diminished licks. ;-)I have got a fair collection of diminished melodies - stolen from the internet, or from Slonimsky, or transcribed, but am still searching for the definitive diminished lick book. Know of one? Bruce Saunders' Diminished Workbook is very comprehensive. -Keith
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Re: Commentary: T. Bone Burnett: "don't put your music on the internet"
Amen Jay
Dave Woods
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-----Original Message----- From: jazz_guitar@... [mailto:jazz_guitar@...] On Behalf Of Jay Mitchell Sent: Sunday, October 10, 2010 10:14 To: jazz_guitar@... Subject: Re: [jazz_guitar] Re: Commentary: T. Bone Burnett: "don't put your music on the internet" Bob Hansmann wrote: In the past, many playing covers (clubs, &c) were overlooked, and many
license fees were never paid, and that's just the way it was. Everybody
was relatively happy. I had a few friends ca. the 1970s who were in the bar/night club business in Atlanta, Ga. Whenever they would open a new venue, the ASCAP/BMI guys would be in to visit them within the first month of operation. If there were any venues around Atlanta that weren't paying at that time, I'm certainly not aware of them. But I don't think that that logic can be applied
here simply because the Internet reaches so many as to saturate the
market completely. Youtube is just another performance venue in which cover material is presented. It's no different in that regard from a night club or broadcast radio station. I don't see why the same principle can't be applied to royalty payments as applies to radio stations and live performance venues. those posting
covers are stealing the works of others. It has never been the performers' responsibility to pay royalties for public performances of cover tunes. That responsibility falls to the venue. The risk of offering _original_ music for download - assuming the artist intends to generate a revenue stream from it - is huge. I believe that whoever makes decisions re: Beatles music is doing the only sensible thing in that regard. OTOH, the mechanism for compensating the holders of publishing rights for _cover_ tunes has been in place for many years. Why that mechanism has not been applied to youtube and the like is an open question. Jay ------------------------------------ Yahoo! Groups Links
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Re: Commentary: T. Bone Burnett: ¡°don't put your music on the internet¡±
Bob Hansmann wrote: In the past, many playing covers (clubs, &c) were overlooked, and many
license fees were never paid, and that's just the way it was. Everybody
was relatively happy. I had a few friends ca. the 1970s who were in the bar/night club business in Atlanta, Ga. Whenever they would open a new venue, the ASCAP/BMI guys would be in to visit them within the first month of operation. If there were any venues around Atlanta that weren't paying at that time, I'm certainly not aware of them. But I don't think that that logic can be applied
here simply because the Internet reaches so many as to saturate the
market completely. Youtube is just another performance venue in which cover material is presented. It's no different in that regard from a night club or broadcast radio station. I don't see why the same principle can't be applied to royalty payments as applies to radio stations and live performance venues. those posting
covers are stealing the works of others. It has never been the performers' responsibility to pay royalties for public performances of cover tunes. That responsibility falls to the venue. The risk of offering _original_ music for download - assuming the artist intends to generate a revenue stream from it - is huge. I believe that whoever makes decisions re: Beatles music is doing the only sensible thing in that regard. OTOH, the mechanism for compensating the holders of publishing rights for _cover_ tunes has been in place for many years. Why that mechanism has not been applied to youtube and the like is an open question. Jay
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Re: Commentary: T. Bone Burnett: ¡°don't put your music on the internet¡±
Hi Jim, I know this heretical, but what if you don't think of it as commerce?
What if you think of it as an audible way of reaching out to OTHERS. I have made lots of fine contacts that I would not otherwise have made had I not made some of my music available on the internet. That's a great question, actually. In the past, many playing covers (clubs, &c) were overlooked, and many license fees were never paid, and that's just the way it was. Everybody was relatively happy. But I don't think that that logic can be applied here simply because the Internet reaches so many as to saturate the market completely. Artists putting up their own materials are taking a calculated risk with something which belongs to them; those posting covers are stealing the works of others. Is there a way to charge a few cents per hit of each cover artist on Youtube, &c? If so, I am all for it. best, Bobby
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Re: Commentary: T. Bone Burnett: ¡°don't put your music on the internet¡±
Hi Angelo, The internet is not a fad. They thought
that about radio, movies, the "talkies"...&c. It's not about the Internet being a fad, and I'm not adverse to new technologies, as you've suggested in the past. It's about the music business, and whether or not competing with "free" is advantageous or not. Because of the way the way the musicians, unions, courts, and every one else involved have treated so many businesses, most of all that of music, I think that at least for now it has failed to deliver on its promise for a better future for all involved. I think the answer does lie with the Internet, but not the way it's being handled now. I have a friend who is an artist. He still has a rotary phone. He schleps
his paintings around the Eastern seaboard to these "art/crafts shows" and is
always complaining about how little he makes.
I tell him to get a web site so that people all over the world can view his
work. He counters that Chinese painters will steal his work. Trust me, his
stuff isn't that original that they would want to steal it. Everybody he
knows tells him he needs to be on the web. Still he schleps...
I cannot suffer Luddites... You've said at least 3 different things in that paragraph. Is it that he's anachronistic, that he's mediocre, or that the Chinese will really steal his art?
On that note, Beatle recordings have been once again refused to Apple.
Real dumb guys, those Beatles. They'll never make it...
They don't need to be smart. They're rich :-)
They didn't get rich by being stupid, or by letting themselves get ripped off. best, Bobby
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Re: Dave Woods, Re: Rhythm Changes Analysis for Ammo
From: jazz_guitar@... [mailto:jazz_guitar@...] On
Behalf Of Paul Sametz
Sent: Saturday, October 09, 2010 21:06
To: jazz_guitar@...
Subject: [jazz_guitar] Re: Rhythm Changes Analysis
Ammo Wrote,
II was only amused at the obviousness of it - the idea that everyone knew
these two sets of changes, so you could get away with playing them all night
without rehearsing...
Historically speaking, people had trouble improvising over the bridge to
Cherokee, so despite how many jams were played over the head, no genre would
likely be named Rhythm-okee".
Ammo,
To Charlie Parker, Cherokee was a glorified I Got Rhythm Format, and he
played the ass off of it. Utilizing the Key Positions makes the Bridge of
Cherokee a piece of cake. My Analysis on tunes focuses on one area of the
fretboard. But with the Five Key Positions, you can work out any tune all
over the fretboard. The ways of moving through the Key Positions up and
down the fretboard are infinite. But when ever your left hand stops at any
point, you'll always be in one of them.
Dave
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Wasn't familiar with the name but my condolences definitely. I live in Alberta
most of the time but, still, not heard of him or his band.
Only name I can think of killed in such a manner was SRV, on his way out of a
gig someplace in?the States, I think it was, in a helpicopter.
?
Mark Cassidy
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Re: Commentary: T. Bone Burnett: "don't put your music on the internet"
Why, Thank You, Dave. That is very sweet. I appreciate it.
Swing On,
Jim
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--- In jazz_guitar@..., "Dave Woods" <david_woods@...> wrote:
Thank God for you on this list!!
Dave Woods
It is a complex issue.
Yes, It Is.
I know this is heretical, but what if you don't think of it as commerce? What if you think of it as an audible way of reaching out to OTHERS. I have made lots of fine contacts that I would not otherwise have made had I not made some of my music available on the internet. I think if you concentrate solely on the money, you lose sight of what made us want to play in the first place. I, for one, refuse to play into any doomsday scenario. It is always the end of the world for somebody and the dawning of a new day for someone else.
Always in never,
Jim Mings
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Re: Rhythm Changes Analysis
Yo Juan and Brian!
I like to hear diminished over the A section a la Charlie Christian and Sonny Stitt, and so on. Mainly, jazz guitarists need some cool diminished licks. ;-)I have got a fair collection of diminished melodies - stolen from the internet, or from Slonimsky, or transcribed, but am still searching for the definitive diminished lick book. Know of one? I seem to remember a Coltrane pattern on Shifting Down, a minor blues, I think, on a record with Cecil Taylor, that I thought was the coolest ever. Anybody got this cut?
Jim
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--- In jazz_guitar@..., "Brian Kelly" <bkelly@...> wrote:
Juan,
As far as playing blues over Rhythm Changes goes you can't play a twelve bar blues over it but you can throw in all the blues oriented licks you ever knew. If I play those changes I always play at least a chorus of nothing but blues licks including maybe a few BB King type things just for good measure.
Brian
From: JVegaTrio@...
Sent: Saturday, October 09, 2010 12:12 PM
To: jazz_guitar@...
Subject: [jazz_guitar] Re: Rhythm Changes Analysis
Hi John,
Jazz players use all sorts of substitutions, that's a huge part of the
music, as you well know. However, if someone calls "rhythm changes", and I
start playing the blues, ain't gonna work; likewise, if someone calls "blues",
and I start playing rhythm changes, ain't the same thing. That's what I
was getting at. Many songs, regardless of genre, share characteristics,
but that doesn't necessarily make them "the same thing", just my opinion.
Tacos and hamburgers both may contain tomatoes, but if I ask for a burger &
the counter person gives me a taco, I'm going to ask what's going on...
Cheers,
JV
Juan Vega
In a message dated 10/9/2010 10:05:59 A.M. Pacific Daylight Time,
jamato316@... writes:
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Re: iReal Book Update - Ipod touch?
Listers,
Those of you who are crazy about the new app:
How does one use it for practice? The midi sound...can it be channeled into a
better sounding format? How? It seems great for a handy reference for charts,
but how exactly does one make it sound better to play along with?
Thanks.
terry
... what I do is go out with a 1/4 mini to my board/PA
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Re: Rhythm Changes Analysis
II was only amused at the obviousness of it - the idea that everyone knew these two sets of changes, so you could get away with playing them all night without rehearsing...
Historically speaking, people had trouble improvising over the bridge to Cherokee, so despite how many jams were played over the head, no genre would likely be named Rhythm-okee".
The interesting thing about R&B is that you rarely if ever hear a ii-V7-I in any of the great R&B songs. Similarly, nearly all trad and standard Blues tunes use I-IV-V and most bluesmen would consider ii-V7-I too corny, let alone its extensions (III7-vi-ii-V7-I) and secondary dominants, temporary key changes, or chord substitutions.
Most rockers have no idea of the circle of fifths, so would be totally lost in the bridge of I Got Rhythm.
There is no question that musicians knew theory much better in the old days than they do now. And that's not nitpicking.
So Dave Woods, thanks for the helpful hint, it's back to the woodshed for me with my many version of I Got Rhythm!
By the way Dave, I always check out your files, and I think you've got a great method in your Key Positions diagrams. So please accept my apology for digressing, after having picked up on the phrase "Rhythm and Blues" which I read in your recent study, "Rhythm Changes Analysis".
The other side of the coin is that there are so many wonderful jazz standards with unique chord changes and delightful, original melodies, that it is a shame the state of musical composition in popular music today is so completely derivative and unoriginal, and this at a time when copyright is far more enforceable, collectible and litigious than ever.
How can you claim copyright when you stole your musical ideas?
Cheers
Ammo
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Re: iReal Book Update - Ipod touch?
Listers,
Those of you who are crazy about the new app:
How does one use it for practice? The midi sound...can it be channeled into a better sounding format? How? It seems great for a handy reference for charts, but how exactly does one make it sound better to play along with?
Thanks.
terry
|
Dave Woods RE: Re: Commentary: T. Bone Burnett: "don't put your music on the internet"
The Amazons and other music retailers have solved this by putting only a small excerpt of each of the album's songs on the site for you to sample. If you want to hear the whole song, you have to 'add to cart'.
Best,
Marshall
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--- In jazz_guitar@..., "Dave Woods" <david_woods@...> wrote: The only solution I can see is for musicians to band together and create
their own version of UTube for themselves. This could starve out the
present UTube as far as meaningful new music is concerned. The old
musicians union in the past before the internet came together for this
purpose. The new musicians union will have to tame cyberspace.
Dave
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Re: Rhythm Changes Analysis
Juan,
As far as playing blues over Rhythm Changes goes you can't play a twelve bar blues over it but you can throw in all the blues oriented licks you ever knew. If I play those changes I always play at least a chorus of nothing but blues licks including maybe a few BB King type things just for good measure.
Brian
From: JVegaTrio@...
Sent: Saturday, October 09, 2010 12:12 PM
To: jazz_guitar@...
Subject: [jazz_guitar] Re: Rhythm Changes Analysis
Hi John,
Jazz players use all sorts of substitutions, that's a huge part of the
music, as you well know. However, if someone calls "rhythm changes", and I
start playing the blues, ain't gonna work; likewise, if someone calls "blues",
and I start playing rhythm changes, ain't the same thing. That's what I
was getting at. Many songs, regardless of genre, share characteristics,
but that doesn't necessarily make them "the same thing", just my opinion.
Tacos and hamburgers both may contain tomatoes, but if I ask for a burger &
the counter person gives me a taco, I'm going to ask what's going on...
Cheers,
JV
Juan Vega
In a message dated 10/9/2010 10:05:59 A.M. Pacific Daylight Time,
jamato316@... writes:
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GIG:NYC:Jack Wilkins - Tuesday, October 12th
Dear friends, I hope you can find some time to come to Bella Luna this Tuesday, October 12th to hear the great Howard Alden and myself at Bella Luna Restaurant. Should be a fun evening of wild interplay. Bella Luna is Located at 584 Columbus Avenue and West 88th street. There's no cover and the food is excellent. Music from 8 till 10.30. If you'd like to reserve a table, please call 212-877-2267.
www.jackwilkins.com
www.bellalunanyc.com
www.howardalden.com
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Re: Rhythm Changes Analysis
Hi John,
Jazz players use all sorts of substitutions, that's a huge part of the
music, as you well know. However, if someone calls "rhythm changes", and I
start playing the blues, ain't gonna work; likewise, if someone calls "blues",
and I start playing rhythm changes, ain't the same thing.
Juan Vega
Juan,
Maybe I wasn't clear, but the intention of rhythm changes is I - VI - ii - V
(but not to include the bridge of III7 - VI7 - II7 - V7 where n/a),
meaning the essence of the name "Rhythm Changes" is in the numerical exchange of
I - VI - ii - V .... my meaning is that one
can infuse 'rhythm changes" anywhere independent of the style or genre ... it's
in the numbers: 1- 6 - 2 - 5 .... which makes up
the sound, a.k.a. "Rhythm Changes" ....
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In a message dated 10/9/2010 10:05:59 A.M. Pacific Daylight Time,
jamato316@... writes:
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[Non-text portions of this message have been removed]
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james mings