Actually, this is analysis and transcription.
The real book chart is horribly inadequate. I think that a lot of the notation behind the sounds is open to interpretation–go with what works for you. But there’s also a good deal of just incorrectness in the real book changes.
So, I went to the Sorcerer album and transcribed the comping Herbie does behind the first two choruses (and verified the bass notes).
read more of analysis: Pee Wee
I usually wind up talking about tension and release. All music, every genre, any historical period, it all ultimately involves the creation and release of tension. If that ain’t there it’s not music.
What makes music wonderful is that it is rich with mechanisms to create and release tension. What makes listening to an accomplished musican exciting is their command of the various mechanisms to create and release tension. Right now, you are probably saying to yourself “OK smart guy, what mechanisms are you talking about?”
read more of tension and release
Apologies to you all–I have been too busy to post recently, but I have every intention of keeping this alive. Thanks to everyone who commented, and hello to all my new Youtube subscribers! More vids are absolutely on the way.
(this is a repost from my Orkut group that covers music theory in jazz)
Most of what I know in terms of teaching this to someone comes from having studied briefly with David Baker of Indiana University, who is well-known and respected in the jazz pedagogy field. The stuff presented here is a mixed collection of things I learned over the years, and stuff I worked out in trying to practice effectively myself. I hope it is useful to you.
read more of Playing idiomatic bebop
