suraci Posted June 20, 2008 Share Posted June 20, 2008 As always, it's both feeling and theory and to stretch my "both", it is technical study as well. Six blind brothers were washing the family elephant Each had a different description of what an elephant was shaped like. Using analogy, the one washing the trunk said a tree, the one on the tail said snake I forgot the details The answer is all of the above, not dichotomy The difference between what the most and the least learned people know is inexpressibly trivial in relation to that which is unknown Link to comment Share on other sites More sharing options...
suraci Posted June 20, 2008 Share Posted June 20, 2008 You don't study music, you feel it. I'd like to see you "feel" your way through Brahms or Rachmaninov, or a 'meaningless' solo on "I Got Rhythm" in the key of B major. "Knowledge must lead intuition". - Bill Evans Delirium "felt" his name here, very on target, you must admit. Ditto on that jsaras + The difference between what the most and the least learned people know is inexpressibly trivial in relation to that which is unknown Link to comment Share on other sites More sharing options...
orangefunk Posted June 20, 2008 Share Posted June 20, 2008 Talking of Kenny Barron, he was another guy whose solos I transcribed a little 10-12 years back. In particular I transcribed his rhodes solo on Jimmy Owens "Do it to it" and it was something of an ephiphany for me as it showed me connecting extended chord tones in runs... in fact I still use one run of his to this day I'm still no master of that though... Brilliant soloist and very creative... I recommend all his work that I've heard esp with Lateef, Ed Thigpen and even Jon Lucien. I'd also recommend looking at the transcription for Herbies Chameleon rhodes solo.. some of those outside runs he does are what modern jazz (esp on a lot of jazz electronica) is all about.... Link to comment Share on other sites More sharing options...
Dave Horne Posted June 20, 2008 Share Posted June 20, 2008 Shouldn't a musician understand music more than a listener? If not, why do they pay us to play? +1 No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
Dave Horne Posted June 20, 2008 Share Posted June 20, 2008 The Griff wrote: I gave you an MP3, you panned it. Get over it. I'm curious, this is a keyboard forum. It was difficult for me to hear everything that was going on what with the vocals being screamed and the distortion cranked up on the guitars. Were you playing keyboards? What brand, model, etc.? No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
Gary75 Posted June 20, 2008 Share Posted June 20, 2008 Can't we just settle peoples argumentrs with a Gladiators one off special? It's how we do it in the UK. Link to comment Share on other sites More sharing options...
Legatoboy Posted June 20, 2008 Share Posted June 20, 2008 I say we all break for a beer and lunch or something! lb CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
keysplease Posted June 20, 2008 Share Posted June 20, 2008 Can't we just settle peoples argumentrs with a Gladiators one off special? It's how we do it in the UK. http://img514.imageshack.us/img514/1662/gladhe7.gif Link to comment Share on other sites More sharing options...
Dave Horne Posted June 20, 2008 Share Posted June 20, 2008 Edmondson, you didn't get my PM? No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
David Loving Posted June 20, 2008 Share Posted June 20, 2008 Why don't we just all agree that Bill Evans pretty much explains the art exactly right? I don't know about you, but I could not stop listening to him on u-tube. The whole thread should gather around him, listen, and then go do likewise! "Forget it, Jake. It's Chinatown." Link to comment Share on other sites More sharing options...
Dave Horne Posted June 20, 2008 Share Posted June 20, 2008 We shouldn't rule out Dick Wellstood either ... http://www.youtube.com/watch?v=bZecZF5yFYg No guitarists were harmed during the making of this message. In general, harmonic complexity is inversely proportional to the ratio between chording and non-chording instruments. Link to comment Share on other sites More sharing options...
Gary75 Posted June 20, 2008 Share Posted June 20, 2008 Can't we just settle peoples argumentrs with a Gladiators one off special? It's how we do it in the UK. http://img514.imageshack.us/img514/1662/gladhe7.gif Win the crowd, and you will win your freedom. Well at least that's how my gigs work anyway. Link to comment Share on other sites More sharing options...
orangefunk Posted June 20, 2008 Share Posted June 20, 2008 If there was a T-Rex in the background I could believe that... ;-) Link to comment Share on other sites More sharing options...
delirium Posted June 20, 2008 Author Share Posted June 20, 2008 ♫♫♫ motif XS6, RD700GX Link to comment Share on other sites More sharing options...
Griffinator Posted June 20, 2008 Share Posted June 20, 2008 The Griff wrote: I gave you an MP3, you panned it. Get over it. I'm curious, this is a keyboard forum. It was difficult for me to hear everything that was going on what with the vocals being screamed and the distortion cranked up on the guitars. Were you playing keyboards? What brand, model, etc.? No, I wasn't, I was playing guitar in that particular act. Shock and awe, I'm a multi-instrumentalist. Piano was my first instrument, but I'd probably rank it third on my proficiency chart, simply because there's not much demand in this neck of the woods for keyboardists, unless you're into playing church gigs. A bunch of loud, obnoxious music I USED to make with friends. Link to comment Share on other sites More sharing options...
Joe P Posted June 20, 2008 Share Posted June 20, 2008 So, ii-V-I, pure genius or just plain lazy? Regards, Joe Link to comment Share on other sites More sharing options...
Griffinator Posted June 20, 2008 Share Posted June 20, 2008 So, ii-V-I, pure genius or just plain lazy? Regards, Joe Nah. Give me IV-V-vi any day. (ducking and running) A bunch of loud, obnoxious music I USED to make with friends. Link to comment Share on other sites More sharing options...
Gismo Recording Posted June 20, 2008 Share Posted June 20, 2008 So, ii-V-I, pure genius or just plain lazy? Regards, Joe Nah. Give me IV-V-vi any day. (ducking and running) I prefer vi-V-IV-III and I-V-IV-I-IV-I-V All the best songs use these. Ken Denny Gismo Recording So Cliché Link to comment Share on other sites More sharing options...
Griffinator Posted June 20, 2008 Share Posted June 20, 2008 I prefer vi-V-IV-III 25 or 6 to 4, anyone? A bunch of loud, obnoxious music I USED to make with friends. Link to comment Share on other sites More sharing options...
Jazz+ Posted June 20, 2008 Share Posted June 20, 2008 "So, ii-V-I, pure genius or just plain lazy?" Neither, it's the most common chord progression jazz musicians play. It follows the cycle of 5ths. Most chord movement within tunes follows portions of the cycle. Other common chord progressions: V of V I VII II V III VI II V I II II IV I IV Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Joe P Posted June 20, 2008 Share Posted June 20, 2008 "So, ii-V-I, pure genius or just plain lazy?" Neither, it's the most common chord progression jazz musicians play. It follows the cycle of 5ths. Most chord movement within tunes follows portions of the cycle. Other common chord progressions: V of V I VII II V III VI II V I II II IV I IV Jazz, I was only kidding and referring to the fact that the scales are all the same, that's all. Regards, Joe Link to comment Share on other sites More sharing options...
delirium Posted June 20, 2008 Author Share Posted June 20, 2008 Shouldn't a musician understand music more than a listener? If not, why do they pay us to play? Definitely NO - why do they pay us? Because it's hard to eat and play and the same time, so somebody else got to do it... ♫♫♫ motif XS6, RD700GX Link to comment Share on other sites More sharing options...
iLaw Posted June 20, 2008 Share Posted June 20, 2008 I prefer vi-V-IV-III 25 or 6 to 4, anyone? Hah!! Scott, you're busted!! Structural analysis of a rock tune from the 60s? Some around here might say that you're sounding suspiciously like Dave Horne with a Les Paul. Larry. Link to comment Share on other sites More sharing options...
Griffinator Posted June 20, 2008 Share Posted June 20, 2008 I prefer vi-V-IV-III 25 or 6 to 4, anyone? Hah!! Scott, you're busted!! Structural analysis of a rock tune from the 60s? Some around here might say that you're sounding suspiciously like Dave Horne with a Les Paul. Larry. OUCH! I think that one left a mark! A bunch of loud, obnoxious music I USED to make with friends. Link to comment Share on other sites More sharing options...
Jazz+ Posted June 20, 2008 Share Posted June 20, 2008 Money Chords http://www.angelfire.com/fl4/moneychords/lesson.html Harry was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." Find 850 of Harry's solo piano arrangements of standards and jazz tutorials at https://www.patreon.com/HarryLikas Link to comment Share on other sites More sharing options...
Legatoboy Posted June 20, 2008 Share Posted June 20, 2008 I prefer vi-V-IV-III 25 or 6 to 4, anyone? Structural analysis of a rock tune from the 60s? Some around here might say that you're sounding suspiciously like Dave Horne with a Les Paul. Larry. Again, not to get off TOPIC, the 25 is a reference to LSD 25, anybody in the know really knows that! I think many Jazz AND Rock musicians have took-en LSD so there's a tie-in and possible a olive branch path to reconcile some of this! Like we should find the similiarites between these armed camps, Don't Ya think! Well after knowing the sideffects I don't think any of us should take LSD.. seriously! BTW, it doesn't mean a 2-5-6-2-4! Beer anyone! I think it's time to stop the madness! CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
delirium Posted June 20, 2008 Author Share Posted June 20, 2008 nice, as we see jazzers don't want to be rich... ♫♫♫ motif XS6, RD700GX Link to comment Share on other sites More sharing options...
iLaw Posted June 20, 2008 Share Posted June 20, 2008 Wow, that was a fun read. I especially liked this line from "One-Chord Progressions": "The "I" and the "Im" chords are most commonly used." With only one chord, what else could it be? A ii chord? A V7/iii? Have a good weekend guys. I'm driving younger daughter up to Interlochen. Wish her the best as she chases the bliss we all started chasing years ago. Larry. Link to comment Share on other sites More sharing options...
Griffinator Posted June 20, 2008 Share Posted June 20, 2008 I prefer vi-V-IV-III 25 or 6 to 4, anyone? Again, not to get off TOPIC, the 25 is a reference to LSD 25, anybody in the know really knows that! I think many Jazz AND Rock musicians have took-en LSD so there's a tie-in and a way to reconcile some of this! Well after knowing the sideffects I don't think any of us should take LSD.. seriously! BTW, it doesn't mean a 2-5-6-2-4! Beer anyone! Structural analysis of a rock tune from the 60s? Some around here might say that you're sounding suspiciously like Dave Horne with a Les Paul. Larry. That's funny, I always perceived that as the time on the clock - "twenty-five or (twenty) six to (till) four" - 3:35 or 3:36 am. There are plenty of other points in the song that make it clear he's tripping, but I just never realized that was one of them. A bunch of loud, obnoxious music I USED to make with friends. Link to comment Share on other sites More sharing options...
Legatoboy Posted June 20, 2008 Share Posted June 20, 2008 Griff, now you look like a man that can appreciate this, ya know! Yes back in da-day, in the 'olden times', that was a common translation of the title in da sub-cultA! yeah, I think it really might have been, acid was very popular then! sh@t, the concentric loops of this quote looks like my programing logic! trippy! I prefer vi-V-IV-III 25 or 6 to 4, anyone? Again, not to get off TOPIC, the 25 is a reference to LSD 25, anybody in the know really knows that! I think many Jazz AND Rock musicians have took-en LSD so there's a tie-in and a way to reconcile some of this! Well after knowing the sideffects I don't think any of us should take LSD.. seriously! BTW, it doesn't mean a 2-5-6-2-4! Beer anyone! Structural analysis of a rock tune from the 60s? Some around here might say that you're sounding suspiciously like Dave Horne with a Les Paul. Larry. That's funny, I always perceived that as the time on the clock - "twenty-five or (twenty) six to (till) four" - 3:35 or 3:36 am. There are plenty of other points in the song that make it clear he's tripping, but I just never realized that was one of them. CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
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