Scot Ranney's LearnJazzPiano.com archive: Mike's Place

LearnJazzPiano.com archives: Mike's Place
Rick -- 01/26/2004, 07:06:41 -- #1075129601

hmm noones posted in here yet! When are you going to start teaching us stuff Mike? lol :-) looking forward to it!
Scot -- 01/27/2004, 13:13:54 -- #1075238034

Where are all the files? I know you have some, Mike!
In Oscar Peterson - Jazz Exercises, Minuets, Etudes and Pieces for Piano
blkyngurl180 -- 01/28/2004, 14:15:34 -- #1075328134
how are we sopposed to learn the stuff
where do we go and wat do we do
kennycasek -- 01/29/2004, 12:23:03 -- #1075407783
To mike about II V
What kind of exercises are you practising? I'm right now doing some exercises for me, based on some chapters of Hal Crook's How to Improvise, perhaps we can share some info. Thanks Kenny
Mike -- 01/29/2004, 19:56:35 -- #1075434995

Hi sorry it's taken me so long to get to work on this.... but here goes...
Mike -- 01/29/2004, 20:04:40 -- #1075435479
Hi from Mike...
Lately I have been working out a lot with a singer who does a lot of pop material. It has been a work out for me learning and re learning material like "Superstition" "As", "All By Myself", "I Will Survive", "Don't Know Why", etc... etc... So I have had less time than usual for Jazz material. We do some Standards too, but it is the pop stuff that is work for me. Its funny. I am a Jazz pianist by proffesion but this singer is always raving about how well I handle the pop material. She has worked with all the best Pianists where I live and some of the best in Boston. She tells me how none of these other players can play pop. I have always played pop tunes on my Jazz gigs so I guess that makes me versatile in that way. I also made a living as a disco, show band multi keyboardist for about 5 - 10 years in the late 70's early 80's. So I have a certain love as well as hatred for some of that music. But I am also well aware enough of its challenges to not take an assignment to accompnay a singer on a pop tune lightly. In fact... Tell me I am going to accompany a singer on a standard and I might barely prepare and be confident that I will do a fine job. But tell me it will be any pop tune and I will try to start preparing right away trying to get a jump and as much preparation time as possable. A standard ... no matter what it is you know before you even start that you can make a 2 feel or a walking bass line work for your left hand if you want. Not so with a Pop tune until you get into it you have no idea what kind of left hand part you might be making up and shedding. "All by Myself" I never liked before, I always thought it was a whiney pop tune, but when you get into it you find out the music is based on a Rachmaninoff Concerto. and it is a pretty classy piece of music... a challenge for the accompaniest as well as the singer. It turns out to be a piece to be proud of once you can pull it off..... sort of a "Lush Life" of the pop world. Anyways the little bit of Jazz work out I have been doing lately is related to the ii v chord progression. Right before I started working out with this singer I had decided to start experimentin practicing ii v licks which I had never done before. So that is the one Jazz drill I have allowed myself to continue while in the midst of this rigorous task of trying to put together a new act with this singer. What began as an idea to simply practice some licks has turned into much more. For example I have identified and started practicing ii v bass lines. ii v voicings. chord scales... and most interestinly to me at the moment ii v progressions. So I am going to start posting what I have learned about ii v's recently First I am going to post basic ii v rooted voicings that I give to my piano students to learn before I teach them tensions and rootless voicing. I think all pianist should internalize and be albe to hear these voicings before getting into anything more advanced. Next when I get a chance I am going to try to write about and advance my idea that there are really only three types of ii v progressions that we need to practice. I have named them the 1.) The Rhythm Fives 2.) The Tune Up Fives and 3.) The Giant Fives. I'll also incorporate the Lydian Chromatic Concept into this discussion in terms of chossing chord scales for these progressions. But I'll get more into this in my next post. In the meantime... It is my reccomendation that any pianist that does not know his or her rooted A and B form ii v voicing take a look at those files and practice those voicing for immediate facility.
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Mike -- 01/29/2004, 20:09:43 -- #1075435782

Hi blkyngurl180 I am going to start teaching a lot about ii v progressions here... so if you are interested in that please check back now and then... also you might want to check the files I posted tonight. The files I posted tongiht are ii v 101 material... pre-requisite material, so to speak... you should have that stuff down in order to procede.
Mike -- 01/29/2004, 20:19:13 -- #1075436353

Hi kennycasek: I am not familiar with Hal. I am in the midst of writing a piano method book for learning Jazz Piano. I was not planing a chapter on ii v's but then all of a sudden I started practicing ii v licks and what do you know there is a new chapter outlined. I feel like I am pretty solid on my direction with it, but you never know. My contention at this point is that most all ii v progressions fall into one of three categories, which I will define in an upcoming post. Then I will post lists of tunes that have these ii v progressions in them. Then I plan on posting exercises for practicing these chord progressions and improvisation, including application of Jamie Abersold type exercizes and application of the Lydian Chromatic Concept. I found when I went to practice ii v licks that I was not really ready to do that until I organize all of this. And I propose that ii v's more intelligently should be approached in this order.
In Oscar Peterson - Jazz Exercises, Minuets, Etudes and Pieces for Piano
Kai -- 02/01/2004, 02:16:54 -- #1075630614
ii V I files "you might want to check the files I posted tonight."
Mike - I will be interested in these ii V I files, especially minors and all of your teaching in this area. Where did/are you put(ting) them please.
Mike -- 02/01/2004, 07:56:02 -- #1075650962

So far, you just click on File list in my room. Then you will see what I have uploaded so far. I am nearly done with more things to upload and should have more in the next few days.
smg -- 02/02/2004, 06:26:21 -- #1075731981
links re-ii-V's
Last week I posted some of Prof.Bob Keller's PDFs'(links section)-don't miss them...(music education section)
heybaby12 -- 02/02/2004, 16:18:20 -- #1075767500
hey mike
are you going to teach me stuff or what i am tire of waiting contact me at priscskyliner91@aol.com
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Rick -- 02/03/2004, 04:27:48 -- #1075811268

lol!
Rick -- 02/03/2004, 10:47:03 -- #1075834023

ouch i just realised i was guilty of the same thing a while back...hopefully you knew i was just being daft thought :-)
In Oscar Peterson - Jazz Exercises, Minuets, Etudes and Pieces for Piano
albetan -- 02/03/2004, 11:27:45 -- #1075836464
Something strange
Something strange is happening here... I didn't send that Pseudo-chat from albetan: Tim Garland is with Chick Corea...??? albetan
Mike -- 02/03/2004, 15:39:21 -- #1075851561

Rick and Albetan you have both lost me??? I don't know what either of you are refering to.
Mike -- 02/03/2004, 15:46:49 -- #1075852008

Chord Progressions that it makes sense to practice ii v licks over: The following will be a series of articles about what chord progressions we should practice ii v licks over. .. How we can best practice them. What to play in the left hand while playing right hand licks. How to compose your own ii v licks… etc.. There are three ii v progressions that should be practiced. Why these three? Because upon analysis virtually all ii v progressions fit into one of these three categories. So if you prepare yourself for these three situations you will be prepared for virtually any ii v situation you encounter while improvising. After Introducing and talking about these three progressions we will identify the names of many standards that contain these progressions and also try to find some exceptions to the rule. I have made up my own names for these three progressions which I will henceforth use for ease of reference: The Rhythm Fives, The Tune Up Fives, And The Giant Fives, An Introduction I The Rhythm Fives: What are the Rhythm Fives? Answer: (I have also uploaded a file on manuscript paper called “The Rhythm Fives” that it may be useful to print out at this point to follow what I am talking about.) The bridge to the composition by George Gershwin “I’ve Got Rhythm” consists of a series of dominant 7 chords that in the key of Bb read as follows: \\D7 \\ \\ G7 \\ \\ C7 \\ \\ F7 \\\\ If we back pedal and precede every dominant chord by its ii minor 7 chord we get: \\A-7 \\ D7\\ D-7 \\ G7 \\ G-7 \\C7 \\ C-7\\ F7\\ This is what I am calling the Rhythm Fives... This type of ii v sequence occurs in countless tunes , not just Rhythm Changes tunes as we will find , but an endless list of standards have these ii v’s or segments of them in them. There are many different ways we will want to practice this progression. … Altering the Harmonic Rhythm, Apply chord substations, and especially transpose to all twelve keys. Here are some tricks to help thinking of the transposition: After you figure out the first ii v of the new key it’s easy to figure out the second one. The ii minor chord of the second ii v will have the same root as the dominant chord of the first ii v. Figuring out the first ii v is easy too because the root of the ii chord in the firs ii v will be vii of the key you are transposing to. For example; If we want to transpose to practice the Rhythm Fives the key of C it’s easy to figure out without writing it out. First we just need to figure out what vii is in the key of C… The answer is B... So the first Chord will be B – 7 making the first ii v \\B-7 \\ E7\\ then to figure out the second ii v we just need to start out with the ii minor 7 chord with the same root as E7…. That’s E-7 so, so far we have \\B-7 \\ E7\\ E-7\\ A7\\ and continuing on The Rhythm Fives in the key of C end up being \\B-7 \\ E7\\ E-7\\ A7\\ A-7\\ D7 \\ D-7 \\ G7 \\\\ Click on uploaded files in my room to get a file containing examples of all this stuff On staff paper. Soon I will be uploading files containing chord voicing, bass lines, and Lydian Parent Chord Scales to practice over the Rhythm Fives. That sums Up the Introduction to “The Rhythm Fives”. Soon to come: Parts II and III , Introduction to The Tune up Fives and The Giant Fives.
smg -- 02/04/2004, 13:35:16 -- #1075930516
re-files
Hey Mike-I checked out your stuff,all great..just wanted to let you know,the two "Rhythm Fives" that came up were in little windows w/out the "maximize" option I'd normally use to see them,when I enlarged them I only got a little part of it,like when I was a kid and would buy trading cards with a part of a big picture on the back that you'd be able to put together if you got all the cards......
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Mike -- 02/04/2004, 14:26:25 -- #1075933585

Thanks Smg. The little window thing seems to be a bug with the forum though. I had the same problem when I tried to look with a file in your room about Green Dolphin ST. So I downloaded the file to my computer and then I could enlarge it just fine of course. I suggest you do the same with my Rhythm Five files.
smg -- 02/05/2004, 10:22:12 -- #1076005332

Hey Mike..did you get a chance to try that stuff I posted re-GDS?I'd be interested in knowing whether it was easy to understand,"user-friendly" re-other stuff I'l be posting like that.Any suggestions/advice/feedback welcome...
The Standards Real Book • The World's Greatest Fake Book
miles2678 -- 02/06/2004, 03:23:18 -- #1076066594
Modal tunes
Hi guys. I am trying to get into so what chords lately and I was wondering if you give me some tips on how I can play a modal tune solo without sounding unbelievably momotonous on the left hand. I am trying So What (the tune) solo. What I am doing is hit the bass notes (D,Eb), use them as pedal sustaining them, and then I hit various modal chords while i improvise on the right (I use pentatonic, dorian scales mostly). In a few words. What can I play on the left when playing a modal tune solo. What other scales can I use on So What scales. That is always for solo playing. Chris
miles2678 -- 02/06/2004, 03:25:23 -- #1076066723

Christ I left England six months ago and I forgot my English alredy. Greetings from Greece! Chris
miles2678 -- 02/06/2004, 03:26:02 -- #1076066762

already
Mike -- 02/06/2004, 05:16:04 -- #1076073364

Hi Chris. I find keeping the form on this tune a challenge. Sometimes simple harmonic tunes are harder to play than challenging harmonic tunes. When playing So What it is easy to loose track of where you are while improviseing over the initial 16 bars of D -7. My sololution to this is to play different voicings for four to eight bar segments evertime, that help me to keep track of the form. I'll try to post a file of some sample voicings on staff papar if I ever get a chance. But and over simplified example for the moment might be to play a d- triad for the first 4 bars , a d- 7 chord for measures 5-8 , fourth voicing for measures 9-12, and non-voicing for measures 13-16. For me its easy to not sound monotonous on So What and it is especially fun to play with crashing 4th voicings all over the place and go way outside with them. But the trick is keeping track of the form while doing so. You can be so cool on those 16 bars of D-7 using every pianist trick ever invented but if you can not slam down on Eb knowing exactily when it is it going to happen after all those D-7 tricks you ain't nothing but a punk. And this I know, I have been proved a punk many a time and have had to go off with my tail between my legs. So now, as soon as that tune get called I start thinking about what voicings I am going to use to help keep track of the form. I have no set ones... I make up new ones each time I play it.
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Barry -- 02/06/2004, 07:02:01 -- #1076079721

The problem with So What changes is that many people hit the Eb section eight bars early. It's not at all difficult to get it right if you just make sure you mentally mark the start of each chorus. I wouldn't recommend playing different voicings to help you keep the time - that's very creatively restrictive. It's much better just to count.
Barry -- 02/06/2004, 07:03:10 -- #1076079790

The same thing happens all the time with 'Little Sunflower' as well. Please everyone - just learn to count!! lol
The Standards Real Book • The World's Greatest Fake Book
Whacky -- 02/06/2004, 07:06:13 -- #1076079973

I usually just alternate between a measure of Dm and a measure of Ebm, then it doesn't really matter where we are in the form... (just kidding - too much coffee)
Barry -- 02/06/2004, 07:09:03 -- #1076080142

lol
Mike -- 02/06/2004, 07:51:29 -- #1076082688

hm, I know how to count quite well believe me. Just like I do not find the chord changes of Giant Steps creatively restricting, I do not find using voicings as a help to keep the form restrictive at all. That is why I do it obviously. In my study of jazz modal study came relatively in the same order of its invention. I learned how to play changes extensively before I got into modal playing at all. Modal playing has its unique challenges. I find it much more restrictive counting to 16 than counting to 4 four times. Problem is when you are deep into an improvisation it is very easy to forget whether its your third group of 4 or your fourth group of four. My soloution is to creat a series of voicings... This solves the problem for me and makes it so I am not creatively restricted. But if you can count to 16 or more accurately, 4x16, anotherwords, Sixty four with out, and have no problem, limiting yourself creatively during an improvisation all the power to you. I as stated often have a hard time with it although I would challenge any musician to size up against me in counting or metronome ventures of other sorts.
Scot -- 02/06/2004, 09:08:14 -- #1076087294

The more you play tunes like So What, Little Sunflower, Impressions, etc, the better you'll get at keeping your place. In fact, it's sort of zen-like. At some point, the less you concentrate on keeping your place, the better you will keep it. Why? Because you feel it instead of think it. Also, you will never lose your place if you simply keep the melody in your head. I think that's what I do on a subconscious level. Somewhere back there the melody is always going, and lots of times I actually play my solo off that subconscious melody that's going in my head. I remember getting lost in those kinds of tunes. But it's been forever since I've gotten lost in a form these days. Just keep that melody in the back of your mind and see what happens.
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
7 -- 02/06/2004, 11:31:02 -- #1076095862

If you play with a good drummer HE'LL lead you into the changes.
Mike -- 02/06/2004, 11:44:48 -- #1076096688

Sometimes I use the melody device to keep the form but that limits me to one type of improvisation. Occassionally on this tune I have been matched up with a drummer who takes advabtage of the oppurtunity to do his best Elvin Jones on Acid Impression and a Bass player who likes to show what it would be like to play with Ron Carter on Crystal Meth yet keeping perfect time and form. In these instances I like like to do my impersonation of the Mccoy Tyner Cyborg with an over Charged battery and loose screws in the armpits. following the melody in your head does not work when doing that impersonation.
The Standards Real Book • The World's Greatest Fake Book
Scot -- 02/06/2004, 12:32:57 -- #1076099577

What part of the world do you live in, Mike? (just out of curiousity)
Mike -- 02/06/2004, 15:06:58 -- #1076108818

Saturn.
Mike -- 02/06/2004, 15:07:26 -- #1076108846

lol, Cape Cod, Massachusetts actually.
Mike -- 02/07/2004, 15:53:26 -- #1076198006
NEW RULES
1. IF YOU CAN NOT NAME MORE THAN ONE BLUES ARTIST WHEN ASKED AND CAN NOT NAME MORE THAN ONE BLUES COMPOSITION AND THAT ONE BLUES TUNE IS "STORMY MONDAY", "AT LAST", OR "STEAMROLLER BLUES" YOU ARE NOT A BLUES SINGER EVEN IF YOU DO HAVE BIG TITS AND YOU CAN SING YOUR ASS OFF. 2. IF YOU WENT TO YOUR GIG AND OPENED THE NIGHT WITH "I WILL SURVIVE" AND ENDED WITH "LAST DANCE" YOU ARE NOT A BLUES SINGER EVEN IF YOU HAVE BIG TITS,CRIED AND WERE SAD WHILE YOU WATCHED YOUR SOAP OPERAS TODAY.
Comprehensive Technique for Jazz Musicians, by Bert Ligon: An incredible presentation of the most practical exercises an aspiring jazz student could want.
Mike -- 02/08/2004, 23:01:28 -- #1076310087
Part II of the the 3 part lesson I am doing on ii v progressions
Part II The Tune Up Fives. What are the Tune Up Fives? Answer: The Tune Up Fives are based on a Composition by Miles Davis and move in the way the ii v’s in this composition move. I have uploaded files containing a lead sheet of this composition and exercises based on this composition. The sequence of ii v’s in Tune Up proceeds as follows: \\E-7 \\A7 \\ DMAJ7 \\ \\ \\ D-7 \\G7 \\ C MAJ7\\ \\ These ii v’s have the unique characteristic of modulating key down a whole step at a time. Many compositions utilize this sequence, so this is a sequence it makes sense to practice. Therefore I have made up some exercises for it. I will be making up a lot more for it and have given this sequence the name The Tune Up Fives. They often occur as sequences without resolution to the I chord so to practice that we simply remove the I chord from or exercises i.e… \\E-7 \\A7 \\ \\D-7\\ G7 \\ \\C-7 \\ F7 \\ etc…. There are many different ways we will want to practice the Tune Up Fives; Altering the Harmonic Rhythm, Applying Chord Substitutions and then transpose to all twelve keys. Some ways of making transposition easy... To find the first chord we need only find the ii chord in whatever key we are transposing to. Tune Up is in D as Miles Davis Composed and performed it. So if we want to transpose to the key of say G we need only identify the ii chord in G for our starting point. That would be A-7, then we know we want an ii v I so we start out with; A-7 \\ D7 \\ G MAJ7\\ Now the trick that makes transposing the Tune Up Fives easy … The next ii v starts on the ii chord with the same root as the I chord we have just played …. So that would be G-7 … and we know we want an ii v I so we need next: G-7 \\ C 7 \\ F MAJ 7 \\ Pretty easy as far as transposition goes eh? Click on uploaded files in my room to get a file containing examples of things talked about here on staff paper. Soon I will be uploading files containing chord voicings, bass lines, and Lydian Parent Chord Scales to practice over the Tune Up Fives. That sums up the Introduction to the Tune Up Fives. Soon to come: Part III The Giant Fives (an Introduction)
Mike -- 10/06/2004, 03:17:03 -- #7790
Another link to find out more about Dave Frank at:
http://www.jazzreview.com/interview5.html
The Standards Real Book • The World's Greatest Fake Book
akosbaby711 -- 12/15/2004, 18:57:36 -- #9699
hi
hi giys
7 -- 12/24/2004, 16:35:29 -- #9866

I actually thought a little more about that and went looking on the internet and found loads transcriptions just the same as any of them. So, don't even worry about it. Best wishes for the New Year! Jeff
wings -- 04/08/2005, 21:24:24 -- #12629

I'm new at this jazz stuff, but love it. Please tell me, what is a lick? Do you mean an arpeggio? When you say you practice licks doing ii-v chords, just what do you do? Thanks in advance for your answer. Wings
Mike -- 04/09/2005, 05:34:01 -- #12636

P A U L B L E Y: IMPROVISATION 1) Practice makes perfect. Imperfect is better. 2) Music paper is senile. Recordings do a better job. 3) Rehersals are counterproductive. Repetition is a downward spiral. 4) Choice of instrumention now determined by the ability of the individual. Since the distribution of a CD lasts only 60 days you will have to make many recordings to be in the pipeline. 5) Each new advance in recording media requires the musician to sustain creativity for an ever increasing length of time, therefore composition is impossible because the next CD length will be 144 minutes per side. 6) The audio only CD has already gone the way of the wax cylinder because CD Video is here. 7) Record companies will download their music directly to the home via the Internet.. 8) Press kits can be ordered 24 hours @ day, internationally for the price of a local phone call. 9) Jam sessions with a master will be on line in real time w/ an Internet headphone mix. 10) Improvisation is brain food for the listener. 11) Live performance can be booked directly by fans in each city. 12) Accoustic instruments are museum pieces of the 20th century. 13) Electronic musiccal instruments will all have the same appearance - that of a briefcase. 14) The central activity of all artists is the creation of copyrights. 15) A 30 year old artist is 10 years old with another 40 years left to improve. 16) Since you will never like your first 10 copyrights, make them quickly. 17) The record company is your adversary: against their own best interests, they demand loyalty. 18) A biography is a collection of self-serving anecdotes. 19) The piano solo, has always always been a stage wait, in a jazz band. Nothing new in Improvisation, was ever created by a pianist. 20) Imitation is a form a flattery, but please.... take only the best & .......omit the rest. 21)You can always tell what a musician will sound like by looking at their record collection. Surgery is required. Ones favorite recordings must be disposed of. 22) Reverse the proceedures in classical music & you have the ideal jazz education. 23)Not only can one make new music music in real time, one can also write books, make paintings, invent theories & create life. contact Improvising Artists : iai@improvart.com http://www.improvart.com Copyright 1994-2000 Improvising Artists All Rights Reserved
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
Mike -- 04/09/2005, 05:46:48 -- #12638

Wings: A lick is a melody. A planed out improvisation. (hence not really an improvisation) But used in the midst of an improvisation... a melody or perhaps more acuratly a "phrase" that you have practiced and know will sound good over specific chord changes. Sometimes improvisers will practice phrases(licks) that sound good over specific chord changes so that when they are improvising they can just plug in that phrase and hence be confident they will play something that will sound good when it is time to improvise... They are not really improvising but hopefully they think everyone will think they are. Its sort of like doing a Painting by numbers. When you are done you hope no one knows it was a paint by numbers and thinks you are a great artist. But there is some value in the exersise as well because in theory if you plug in these phrases (riffs) enough it should help you get better at plugging in phrases that you are making up spontaineously (improvising).
Barry -- 04/09/2005, 10:11:42 -- #12645

Yes good description. Although a lick should't be thought of as 'cheating' It isn't improvisation in the purest sense, but no solo is ever 100% inspiration and originality. Licks buy you time and help you sound good whilst waiting for that cool new idea to occur to you. Also, couldn't it be argued that if you know, say 12, licks to play on a ii-V-I that you ARE improvising by selecting one rather than the others in that particularly moment. Is that any different to selecting one note out of the available 12 to play on any given chord? Hmmm, kind of though of that as I was typing it. Interesting. I'll have to think about that more. What do you think Mike?
The Standards Real Book • The World's Greatest Fake Book
Whacky -- 04/09/2005, 17:35:15 -- #12653

Well you didn't ask me but I kinda think so. We use whatever tools we have, or whatever colors are on our pallettes, to create what we can on the spot. Once in a great while I actually come up with something new, but usually I just play the same lick over all chord changes, and I think it sounds pretty good:)
Mike -- 04/09/2005, 17:55:13 -- #12654

1. Just because something sounds good that does not make it improvisation. ie the definition of improvisation is not "something that sounds good" 2. I agree that playing licks are one of the tools used in improvisation, but as my idol Cyndi Lauper would say "Isnt it Ironic?" that one of the tools used in improvisation is to "not improvise"?, In this circumstance it is usually more acceptalbe if we can get away with it to say we are "Quoting" someone else within our improvisation rather that playing a lick. 3. Actually this has been a hotly debated topic in Improvisation for quite some time. Coltrane in particular was very vocal about it. In Coltranes time there were quite a few musicians making names for themselves by there talent for "quoting" other people. Coltrane was vocally clear that this was not what improvisation was about for him and that he made a conscious and labored effort to make sure he was never quoting anyone else. 4. What do I do? What ever I can do to survive. I'll steal a lick and play it, I'll steal notes from a book, a recording, from overhearing someone talking about notes they played in a conversation. Hell I'd steal your sister if I thought it would help make my solo better. But thats just me, I never really got the spiritual thing going like Trane.
Mike -- 04/09/2005, 17:58:08 -- #12655

1. I agree with Barry that sometimes you can think of playing licks as inserting colors. Sort of like playing different chord voicings. Or sort of like how Trane is refered to as playing "walls of sound" or how does that go? I cant remember. Its sort of like deciding to splash a color on the canvas and that is a type of improvisation, i agree.
Mike -- 04/09/2005, 18:01:21 -- #12656

One bad thing about licks is they require breaking two of Paul Bleys Rules that I think are good. 1. you have to practice licks and Paul Says: ) Practice makes perfect. Imperfect is better. 2.When practicing them you have to repeat licks and Paul says: 3) Rehersals are counterproductive. Repetition is a downward spiral.
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
wings -- 04/09/2005, 18:15:24 -- #12657

Mike, Thanks for the great explanation about licks. Not at all what I thought it might be. I think I understand what you mean, and your information is very helpful, however, if I could actually HEAR what you are talking about, it would be even better. Is there a link where you could demonstrate a lick, so that it could actually be heard? Most appreciative, Wings
Barry -- 04/09/2005, 18:48:49 -- #12658

Wings, if you click on 'Rooms Map' at the top of the page you will be able to find a room in the 'midi and sheetmusic' category called 'Grooves and Licks'. You can hear some blues licks if you click 'list files' when you are in that room.....
The Standards Real Book • The World's Greatest Fake Book
Whacky -- 04/09/2005, 23:08:33 -- #12663

hmmm...I thought it would be obvious I was just being silly when I said: "I just play the same lick over all chord changes, and I think it sounds pretty good:)" but I guess there might be some folks that do that:)
Mike -- 04/10/2005, 09:18:06 -- #12668

lol... Barry told me he went to hear you play and thats what you do. :)
Whacky -- 04/10/2005, 10:31:19 -- #12673

hehe :)
Barry -- 04/10/2005, 17:23:42 -- #12681

That's right, and guess what? It didn't sound okay at all! lol
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
Mike -- 04/17/2005, 20:05:21 -- #12972

martin: For starters type "Two and Four" into the LJP search engine and read all those threads.
joshuanage -- 04/28/2005, 07:46:18 -- #13332
New York City Piano Teacher ?
Can anyone recommend a great jazz piano teacher in New York City ? Please e-mail me at JNAJJJ@AOL.COM. MUCH THANKS !! Josh
The Standards Real Book • The World's Greatest Fake Book
Whacky -- 05/23/2005, 12:21:16 -- #14116

lol!
Whacky -- 06/13/2005, 00:01:14 -- #15029

Hey! Maybe there's no fucking filters in the private messages??? Shit piss cunt cock cocksucker motherfucker tits
Whacky -- 06/13/2005, 00:05:17 -- #15030

whoops - forgot to click "private message"!
Whacky -- 06/13/2005, 00:06:14 -- #15032

oh well...
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
Whacky -- 06/14/2005, 11:14:08 -- #15104

lol!!
Mike -- 07/02/2005, 18:57:25 -- #16067
Marilyn Monroe or Ashley Judd?
Who has the better tits? really sometimes the lounge gets a little ridiculous and I have to retreat to the sanity of my own room. What will the lounge be comparing next.
The Standards Real Book • The World's Greatest Fake Book
Mike -- 08/30/2005, 15:26:31 -- #18307
lol
i keep forgetten its a girl She doesnt talk like one. Plus I think Jeff is already doin her.
SHOESHINEBOY -- 09/04/2005, 08:39:39 -- #18517

hiya iam a new member
Mike -- 09/04/2005, 21:24:15 -- #18542

Hi... and you shine shoes too?
Styles -- 09/17/2005, 16:24:14 -- #19179

Mike.... the obvious answer is Jessica Alba
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
winhink -- 05/12/2006, 19:56:14 -- #27171
alternates to Rhythm Fives
Your Rhythm Fives is good to practice, I guess but not very dynamic. One thing I do on the Rhythm Changes bridge is "up a half step" III7 / \| #III7 III7 \| VI7 / \| #VI7 / \| II7 / \| #II7 II7 \| IIm7 \| V7 any other ideas? bighinx@gmail.com
7 -- 06/03/2006, 19:32:16 -- #27835
Re: "Rain" songs
There was "Rainy Night in Georgia" and then here's one I found at http://www.myspace.com/jefflorberjazz entitled "Rain Dance". Does that count?
7 -- 06/03/2006, 19:33:37 -- #27836

Jeff Lorber's bio on that page is pretty funny. Read it.
Mike -- 10/27/2006, 21:03:30 -- #30757
Tunes that contain a circle of 4 chord progression
Yo y'all I am looking for tunes r that contain the circle of 4 progression. So I am going to ask for help from the forum. I am hoping to compile a list of a lot of tunes and then when the results are in I will make a nice neat list and post a file for any one to download. The tune I am going to list to start with is "Ive Got Rhythm" and all the tunes based on its changes.. The Bridge to "I've Got Rhythm" is a circle of 4 progression. So by practicing the Bridge to that tune you are acomplishing what 7 suggests... Practicing a tune and the cycle or 4 at the same time. Any tunes any one can make me hip to please do hit me: Thanks a mica
Mike -- 10/27/2006, 21:06:09 -- #30758
ps
one ii v I could be considered a circle of 4 progression so I guess I am looking for at least tunes that have iii vi ii v's and preferably more than that even
Whacky -- 10/27/2006, 21:58:00 -- #30762

You mean like "Sweet Georgia Brown"? Up A Lazy River?
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
Mike -- 10/27/2006, 22:23:49 -- #30764
Thank you Dr.
Yep "Sweet Georgia Brown" how it starts out 2 measurs of d7 2 measures g7 2 measures of c7 then f is a perfect tune to practice the cycle of 4 with. And "Lazy River" one I never would have thought of starts out with the same changes as "Sweet Georgia Brown" ... Another great Cycle of 4 tune. Thank You much Dr. Please send along any more you stumble upon.
7 -- 10/28/2006, 10:26:56 -- #30769

Mike, Before I get all hog wild and send you a list of realbook tunes that have circles, are you limiting your circular progressions only to those which exactly follow the circle of fourths, ex: iii vi ii V I or are you going to include those circular progressions which also include tritone substitutions: ex: iii bIII ii bII I Your humble servant, 7
Mike -- 10/28/2006, 23:14:53 -- #30774

i think ill keep it simple and omit the tritone subs because it I include the tritone subs then maybe i should have to take other subs to like the other diminished subs... Thanks
7 -- 10/31/2006, 08:39:25 -- #30839

During a break at the store, I picked up a copy of Real Book I and began flipping through the pages searching for “longish” strings of circular progressions. After about 20 minutes, I had scribbled up a full looseleaf page with the following results: “A Child is Born” bars 12-18 “A Foggy Day” bars 2-5 & 22-28 “Afternoon in Paris” bars 1-5 “Alice in Wonderland” bars 19-24 “All of Me” bars 9-17 “All the Things You Are” bars 1-5, 6-12 & 24-30 “Anthropology” bars 3.5-6, 9-17, 19.5-22 “Autumn Leaves” bars 5-12 & 17-24 “Beautiful Love” bars 1-7 “Black Diamond” bars 10-14 “Blue Room” bars 3.5-6 “Bluesette” bars 3-18 “Blues for Alice” bars 2-6 And then I began feeling a bit silly. Any fool with half a brain and a set of Real Books could do the exact same thing I was doing. So I quit. The lengthiest circular progression I found so far was in the tune “Bluesette”. Is this useful to you?
Mike -- 11/01/2006, 01:54:39 -- #30856
yes, Thanks a mica 7
yes, Thanks a mica 7 Ya Now I am thinking the list is too long to write. It would be like trying to wiite a list of all the... well its just too long a list. So really the I think suffice it to say... If you want to practice the cycle of 4ths while practicing a tune at the same time. Simply open up any fake book and and thumb thru and it will not be long before you come to a good tune with a cycle of 4 progression you can use.
Rick -- 05/10/2007, 07:51:40 -- #34965

Mike, hows it going!?
Thesaurus Of Scales And Melodic Patterns by Nicolas Slonimsky
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