Very welcome, Bob. (Adictive app, isn't it?)
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Very welcome, Bob. (Adictive app, isn't it?)
Hello, I'm new here so cannot understand why ,when I click on 'Practice Charts'....I get a blank page???
Hi, Petesajazzer,
You're IN the Practice Charts thread, else you wouldn't have been able to leave a post. (What do you mean, "blank page"?) When you find a practice chart someone has posted, if it interests you, tap on it. It will download into your iReal Pro app and you can try it out.
Thanks and sorry for the dumbness!!I was trying to view the charts in the Forum!!:confused:
Thanks and sorry for the dumbness!!...I was trying to view the charts in The Forum:confused:
Not a problem, takes a little getting used to. I won't mention the dumbass things I've done here.
Have you downloaded the 1300 Jazz charts yet?
Frogwood 1 (21)
Individual songs:
11-V-1 In 4 - FrogWood
11-V-1 In 3 - FrogWood
11-V-1 I 11-V-1 - FrogWood
111 - FrogWood
V1 - FrogWood
1-11-111-V - FrogWood
1-V-111-1 - FrogWood
111-V1-11-V-1 1 - FrogWood
1V-V11-111-V1-11-V-1 1 - Frogwood
Chord Sequence 1 - FrogWood
Chord Sequence 2 - FrogWood
Chord Sequence 3 - FrogWood
Chord Sequence 4 - FrogWood
Chord Sequence 5 - FrogWood
Chord Sequence 6 - FrogWood
Little Sunflower 2 - Freddie Hubbard
Lester Leaps In - Lester Young
Avalon 1 - Jolson-Sylva-Rose
Mellow Mood - Jimmy Smith
Barbados 1 - Charlie Parker
No Me Esqueca - Joe Henderson
All The Things You Are 1 - Jerome Kern
Funky Minor Turn Around - Hutson-Mathlab
Funky Minor Turn Around - Hutson-Mathlab
C-Parker Style Half Cadence - Hutson
Third Shift Excercise - Hutson
These are backing tracks for Ed Fuqua's book, "Walking Bassics" (2007), including tracks for examples and exercises not on the accompanying CD.
[REVISED 2014-12-3]
Ed Fuqua (38)
These are backing tracks for Jay Hungerford's book, "Walking Jazz Lines for Bass" (2002), including tracks for exercises and examples not on the accompanying CD.
[2014-12-4]
Jay Hungerford (59)
Again ..Nice work Nimble;)
I've been having a great time working these exercises.
BTW I can't see what you did different to the Ed Fuqua book?
I don't think I did anything much different to the charts for Ed Fuqua's book, Bob -- maybe a few cosmetic modifications. [EDIT: Yipes, I just discovered a typo where I had entered a minor-major chord instead of a major chord. I'll fix it now.] I had to re-post it because it had disappeared off the board for some reason. I musta hit the wrong button sometime. I've gotten something good out of each of the books. But the Hungerford book, based on patterns, seems to speak to me at my age and curcumstances. I don't have time left to really study the instrument, just enjoy it.
Jack
parece-me muito interessante, vou experimentar
Yanny, regarding your Aebersold charts--check me on this, but it looks to me that when Jamey Aebersold writes the chord symbol C7+9 he doesn't mean just C7♯9, but rather C7♭9♯9♯4♯5, or perhaps C7♭9♯9♯5. (See his Scale Syllabus on p.ii, about half-way down the chart.) That's how I read it, anyway. I haven't found a way for iReal Pro to make that chord quality, but it will make C7 with any two of those altered extensions. (E.g., C7♯9♯11 or C7♯9♯5 or C7♭9♯9)
While some prefer to try to specify a complex jazz voicing, many would simply write:
C7alt
http://en.m.wikipedia.org/wiki/Jazz_chord
(see complex dominant chords near the bottom of the page)
:))BOB
Bob, what exactly does iRP Playback when you enter a C7alt chiord? Do you happen to know? it appears that an altered 7th could mean a variety of sharped or flatted extensions. I tried to ask this question a month ago on the iOS thread, but no answer. I have played around with it a bit. To me, on Playback C7alt sounds more like C7♭9 ♯ 9 than anything else, but I don't have a great ear.
Minor ii-V Interpolation - Hutson
Minor ii-V Interpolation - Hutson
Invitation as a good tune for the alt chord .
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
Ř Practice 1 - Çağlayan Yıldız
Ř 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
(Moderator Edit: note: the tune's keys are transposed Eb alto sax. Pianists or Bb instruments will have to transpose the titles)
J'ai oublié de dire que les titres des tunes sont transposé en Eb, pour sax alto. Les pianistes ou instruments en Bb devront transposer les titres... Sorry
Une grille pour chacun des grands modes principaux (majeur/majeur harmonique/mineur harmonique/mineur mélodique), qui tourne autour de plusieurs degrés de ces modes, transposée dans tous les tons. Enjoy!
L.W. tous modes / tous tons (52)
Individual songs:
001. Do Maj - La Min - L.W.
040. Do Maj Harm - L.W.
014. La min harm - L.W.
027. La min mél - L.W.
002. Fa Maj - Ré Min - L.W.
041. Fa Maj Harm - L.W.
015. Ré min harm - L.W.
028. Ré min mél - L.W.
003. Sib Maj - Sol Min - L.W.
042. Sib Maj Harm - L.W.
016. Sol min harm - L.W.
029. Sol min mél - L.W.
004. Mib Maj - Do Min - L.W.
043. Mib Maj Harm - L.W.
017. Do min harm - L.W.
030. Do min mél - L.W.
005. Lab Maj - Fa Min - L.W.
044. Lab Maj Harm - L.W.
018. Fa min harm - L.W.
031. Fa min mél - L.W.
006. Réb Maj - Sib Min - L.W.
045. Réb Maj Harm - L.W.
019. Sib min harm - L.W.
032. Sib min mél - L.W.
007. Solb Maj - Mib Min - L.W.
046. Fa# Maj Harm - L.W.
020. Mib min harm - L.W.
033. Mib min mél - L.W.
008. Si Maj - Lab Min - L.W.
047. Si Maj Harm - L.W.
021. Sol# min harm - L.W.
034. Sol# min mél - L.W.
009. Mi Maj - Do# Min - L.W.
048. Mi Maj Harm - L.W.
022. Do# min harm - L.W.
035. Do# min mél - L.W.
010. La Maj - Fa# Min - L.W.
049. La Maj Harm - L.W.
023. Fa# min harm - L.W.
036. Fa# min mél - L.W.
011. Ré Maj - Si Min - L.W.
050. Ré Maj Harm - L.W.
024. Si min harm - L.W.
037. Si min mél - L.W.
012. Sol Maj - Mi Min - L.W.
051. Sol Maj Harm - L.W.
025. Mi min harm - L.W.
038. Mi min mél - L.W.
013. Do Maj - La Min - L.W.
052. Do Maj Harm - L.W.
026. La min harm - L.W.
039. La min mél - L.W.
.
A new guide blog on advanced practice techniques using some iRp functions and features.
Read it here:
http://irealpro.com/advanced-practicing-techniques/
:))BOB
U gotta version where the diminished 7 chord has a flat 9? I couldn't edit it myself
No way of inserting and playing back the chord you speak about because it's not in the choice of chords the player recognizes. You can find all the kinds of chords iReal plays back if you press the little menu at the side of the chord insertion field.
You can manually write the chord type for appearance, but if the player doesn't know what kind of chord it is, it won't play it.
... an inversion might work. I am not sure what notes you require but an example is Cdim7 with a Db (being flat 9).
You could use Ebř/C or Gbm6/C; then perhaps use the Alt chords (above the main chords) or text for the actual chord quality you want to have it shown as (so you can read it).
Dom 7 Chord Matrix (12)
Individual songs:
Dom 7 Matrix Circle Of 5ths - Jason Mingledorff
Dom 7 Matrix Down M2 - Jason Mingledorff
Dom 7 Matrix Up M2 - Jason Mingledorff
Dom 7 Matrix Down Mi2 - Jason Mingledorff
Dom 7 Matrix Up Mi2 - Jason Mingledorff
Dom 7 Matrix Up Mi3 - Jason Mingledorff
Dom 7 Matrix Down Mi3 - Jason Mingledorff
Dom 7 Matrix Up M3 - Jason Mingledorff
Dom 7 Matrix Down M3 - Jason Mingledorff
Dom 7 Matrix Up P5 (Down P4) - Jason Mingledorff
Dom 7 Matrix Tritones - Jason Mingledorff
Dom 7 Matrix Random - Jason Mingledorff
Major 7th Chord Matrix (12)
Individual songs:
Maj 7 Matrix Circle Of 5ths - Jason Mingledorff
Maj 7 Matrix Down M2 - Jason Mingledorff
Maj 7 Matrix Up M2 - Jason Mingledorff
Maj 7 Matrix Down Mi2 - Jason Mingledorff
Maj 7 Matrix Up Mi2 - Jason Mingledorff
Maj 7 Matrix Up Mi3 - Jason Mingledorff
Maj 7 Matrix Down Mi3 - Jason Mingledorff
Maj 7 Matrix Up M3 - Jason Mingledorff
Maj 7 Matrix Down M3 - Jason Mingledorff
Maj 7 Matrix Up P5 (Down P4) - Jason Mingledorff
Maj 7 Matrix Tritones - Jason Mingledorff
Maj 7 Matrix Random - Jason Mingledorff
Chord Tone Instant Recall - Jason Mingledorff
AB Jazz Scales (2)
Individual songs:
AB Jazz Sax Scales Grade 4 - AB Jazz
AB Jazz Sax Scales Grade 5 - AB Jazz
ii-V Practice (20)
Individual songs:
ii-V-I Descending Whole Steps - Joseph Cannavo
II-V-I in 12 Major Keys - Exercise
Major 251s - Unknown Composer
SPOT x 1 - Cherokees - Turnarounds Lego
Sideslips - Cycles Lego
Stablemates Cadence x 8 - Homers - Cadences Lego
Chromatic iib5-Vb9-I Cycle - Unknown Composer
Coltrane Changes - John Coltrane
Minor ii7b5, V7alt - Aaron Brown
2-5's - Unknown Composer
1m 25's Wstep - Unknown Composer
1m 25's 4ths - Unknown Composer
1m 25's -3rds - Unknown Composer
1m 25s 3rds - Unknown Composer
1m 25s Tritone - Unknown Composer
1m 25s M6up-3down - Unknown Composer
1m 25s Aug5's - Unknown Composer
25 -3rds Singles - Unknown Composer
25 One At A Time - Unknown Composer
Chromatic ii-V-I Cycle - jimb930