What's your thinking about the A natural in the second bar of the sixth line? I hear it as an anticipation of the third of the F7 chord in the following measure rather than the natural sixth of C-7b5 . It's three beats ahead but I've heard Herbie anticipate upcoming changes a few beats in advance. It sounds kind of out but cool, while at the same time propelling the music forward. At least that's my rationalization of what I'm hearing; I'm curious to learn your take. Or perhaps you're just playing with different flavors of F7 for two bars instead of a measure of C-7b5 followed by a measure of F7. Either way nice tension that resolves soon after with Bbm.
The interval of C# and F over Am in the second bar of the last line sounds great. Not an obvious choice to me but I'm thinking is fits in so nicely because it's a major third interval among other major third intervals and it leads beautifully to the next major third interval (E and G#).
Thanks Al, much appreciated !
Regarding that Cm7b5 to F7- I think I just heard it has part of the Cm7b5. I've been somewhat infatuated as of late with the Half Dim. chord and have been trying to probe for different, somewhat out and angular sounds.
But yes, you're right, it is an anticipation of the next bar. But it could be heard/analyzed as just one long line for the F7 altered. And yes on a lot of Herbie early solos, I see/hear him do that all the time. I read somewhere awhile back where he said he was influenced by Bill Evans after hearing him push and play with the time like that.
When I was starting out, it didn't sound "right" to me. I was used to straight up and down Be Bop phrasing , where each line corresponded to each chord change , on each bar. It's a more sophisticated way of "speaking" for sure. Shows how far ahead of his time Herbie was when he was in his early 20s. Unbelievable really.
Yes, that C#/F third interval on the Am. You know that's the first time I've ever come up with anything like that and I knew someone might say...hey what is that ? But yes again you're hearing what I am. If you just hear it as within the whole phrase it sounds kinda cool, all those Major 3rds a Minor 3rd apart, and it ends on the Minor Maj.7. Definitely Debussy influenced. His second Etude in thirds, " Pour les Tierces" in particular.
Thanks for sharing! I don’t write out lines, but maybe I should start to? I do work out lines from jazz books and transcriptions, and play them in all 12 keys. Usually RH plays the line, the LH does rootless voicings, or walking bass or stride. This is great practice for the fingers, ears and mind! Sometimes I also just comp and sing the lines instead of playing them. I’d be interested in hearing others approaches to practicing lines.
A big YES, to writing your own lines and chord voicings out ! After strictly taking lines and standard voicings for years from the Masters, I started to branch out, a little at a time, on my own maybe 25 years ago. I look back at old notebooks and some of the lines and voicings weren't all that great. Even much stuff I used to post here 10-12 years ago, I wouldn't play today. So that tells me I'm on the right track has being more particular and hearing things differently.
I feel it's still important to refer to the Masters like Bud Powell, Bird, etc. etc. But slowly and a little at a time, come up with your own stuff. It's your own voice !
I practice essentially what you do sans the singing and walking bass. I do play everything in parallel octaves, Lh & Rh two octaves apart. But it's important to always play the LH voicing to hear how the line works/corresponds to the harmony. Often I'll play the root of the chord down low with the LH before the voicing, to reinforce the sound of the harmony even more clear...if that makes sense.