Minor ii-V Interpolation - Hutson
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Minor ii-V Interpolation - Hutson
Minor ii-V Interpolation - Hutson
Invitation as a good tune for the alt chord .Quote:
Originally Posted by nimbleswitch
In the original real book version the bridge would /Db-7,,,/Gb7,Gbalt,/B-7,,,etc down whole steps
The version I use is similar but I prefer the more precise sound of /Db-7,,,/Gb7.C7,/B-7
Compare them
Invitation (bobsax ver) - Bronislau Kaper
Also , on most of the other Alt chords I play them with the 3 on the bottom then #5,7 and #9 so it's really a V7#9+ .
I have done a few experiments Not much difference.
Experiment alt vs #9#5 - Me AnU
IMHO
The thing we all have to keep in mind is to not get too carried away with complex chords.
The scale used depends on the context of the song.
A really good exercise is to play all the scales with a drone note.
This way you really hear the scale.You don't need the piano banging out every note on the keyboard.
Listen to Revels Bolero or Paul Desmond playing without a piano (ex Sacre Blues)
What we really need is a 3 and 7 only option.
Lots of piano players only play the 3 and 7 in the left hand while soloing with the right.
I found a video of the Invitation arrangement I use .
I did it years ago on a youtube channel I can no longer access.
https://www.youtube.com/watch?v=gR8pxDpo-1c
Notice I do not play the V7 chords on the A sections . I like the sound of the C min 6 melody note (as opposed to Maj 3rd with the F7)
Also notice, for the most part these are the old Real Book changes. The new Legal Real Book uses different changes at the end that I don't care for.
I'm not sure if anyone has posted that version.
Interesting discussion, Bobsax. I've been doing a lot of listening, comparing various extensions with iRP's Playback. Still sounds to me like iRP's Calt sounds more like C7♭9♯9 than C7♯9♯5 or anything else I've yet tried -- particularly when I listen for the various inversions that iRP will eventually play, if I listen long enough. But it doesn't sound like that to you?
"Two, Five, One" is a chord chart for Example 12 from Jazz Etudes by Michael Orta (Alfred, 2004). The book is poorly named, as it does not contain études (fully realized instructional pieces) at all. Rather, it is an instruction book containing fully written-out right-hand solos for a dozen or so standards as well as good advice on how to analyze and recognize many soloistic ideas. The solos themselves are very hip and contain many real nuggets that can be introduced into the developing soloist's vocabulary. The solos are idiomatic to the piano yet avoid virtuosic runs and gestures that might discourage their being learned by the student. I've only had this book for a few days and I have already incorporated ideas that I have picked up from the first few "études" in this book into my soloing. I highly recommend anyone with a Kindle or Kindle app to download the sample of this book that Amazon makes available for free to get an idea of what the book is about.
The note at the bottom of the chart contains a reminder of suggested Upper Structures to use with several different altered dominants.
Two, Five, One - Michael Orta
Guide Tones (6)
1. P2 Maj Mixo* Melo Harmo VI-TC4 III-TC3 - Emmanuel Rosenblatt
2. P7 Harmo Melo mixo* Maj III-TC3 VI-TC4 - Emmanuel Rosenblatt
3. P6 Melo Maj Locrien* Harmo VI-TC3 III-TC4 - Emmanuel Rosenblatt
4. P3 Harmo Locrien* Maj Melo III-TC4 VI-TC3 - Emmanuel Rosenblatt
5. P4 Maj Harmo Lydien Melo VII-TC4 III-TC3 - Emmanuel Rosenblatt
6. P5 Melo Lydien Harmo Maj III-TC3 VII-TC4 - Emmanuel Rosenblatt
Here's my first attempt to upload a practice progression. Many more to follow...
Hi all, I've written 14 types of 4-note chords in all possible root movements to practice their arpeggios, upper structures or related scales. I've also included II-V-I progressions in major&minor with all possible modulations. Have fun practicing!
Çağlayan Yıldız Practice (38)
Individual songs:
Maj7 Practice 1 - Çağlayan Yıldız
Maj7 Practice 2 - Çağlayan Yıldız
Dom7 Practice 1 - Çağlayan Yıldız
Dom7 Practice 2 - Çağlayan Yıldız
6 Practice 1 - Çağlayan Yıldız
6 Practice 2 - Çağlayan Yıldız
-maj7 Practice 1 - Çağlayan Yıldız
-maj7 Practice 2 - Çağlayan Yıldız
-7 Practice 1 - Çağlayan Yıldız
-7 Practice 2 - Çağlayan Yıldız
-6 Practice 1 - Çağlayan Yıldız
-6 Practice 2 - Çağlayan Yıldız
Dim7 Practice 1 - Çağlayan Yıldız
Dim7 Practice 2 - Çağlayan Yıldız
Ø Practice 1 - Çağlayan Yıldız
Ø Practice 2 - Çağlayan Yıldız
7#5 Practice 1 - Çağlayan Yıldız
7#5 Practice 2 - Çağlayan Yıldız
7b5 Practice 1 - Çağlayan Yıldız
7b5 Practice 2 - Çağlayan Yıldız
Maj7b5 Practice 1 - Çağlayan Yıldız
Maj7b5 Practice 2 - Çağlayan Yıldız
Maj7#5 Practice 1 - Çağlayan Yıldız
Maj7#5 Practice 2 - Çağlayan Yıldız
7sus Practice 1 - Çağlayan Yıldız
7sus Practice 2 - Çağlayan Yıldız
Maj II-V-I m2's Up-Down - Çağlayan Yıldız
Min II-V-I m2's Up-Down - Çağlayan Yıldız
Maj II-V-I M2's Up-Down - Çağlayan Yıldız
Min II-V-I M2's Up-Down - Çağlayan Yıldız
Maj II-V-I m3's Up-Down - Çağlayan Yıldız
Min II-V-I m3's Up-Down - Çağlayan Yıldız
Maj II-V-I M3's Up-Down - Çağlayan Yıldız
Min II-V-I M3's Up-Down - Çağlayan Yıldız
Maj II-V-I P4's Up-Down - Çağlayan Yıldız
Min II-V-I P4's Up-Down - Çağlayan Yıldız
Maj II-V-I #4's Up-Down - Çağlayan Yıldız
Min II-V-I #4's Up-Down - Çağlayan Yıldız
......congratulations and welcome.Quote:
Originally Posted by caglayanyildiz