First, remember that real book and other lead sheets are never exact with the changes; they are more of guidelines. The changes I wrote to the transcription are reflecting more of what the band is playing on the recording.
For example, if you have a long I chord (in this case Fmaj7), often we would add II V movement in the middle, to create more interest in the harmony.
Also remember, real book changes are also often plain wrong.
For the left hand, please check the analysis, I’m attaching it here:
Tuomo’s improvisation workshops from March have been updated with in-video notation.
We have added the 12 bar blues form with blue highlights throughout all 3 workshops so that it’s easier to follow the demonstrations.
We’ve also added full notation where appropriate to make the information and contents more accessible. Here are a few screenshots from the updated videos:
from the Jazz Improv for Beginners seminar, and they did seem familiar. So I looked back at the Oscar Peterson Pennies from Heaven solo you covered a while ago (I’m still working on it), and there they both were, in a slightly different arrangement (bars 11-13):
You always say that these passages are used by everyone, and that you will see them everywhere. I’m going ahead and taking this as a sign that i am learning something that i managed to connect your examples to the Oscar Peterson solo.
If its a minor 2-5 (ie headed to Cmin7), would you start with a flat 5 over the 2 chord (even if its the same note as the b9 of the 5 chord)?
Thanks
James
Thanks, @Tuomo ! These are great!!
There always seems to be another question . . .
With the original pattern, the Maj 2-5-1, would you tend to only use this in spots in tunes where the 2-5 is contained within one bar, and choose other favorite patterns/melodic quotes where the 2-5 is spread over 2 bars? Or is there a way to spread the 2-5 of this melodic quote over 2 bars (each chord getting its own bar) while maintaining its original flavour?
Hi, what I do is either combine this melody with another one-bar-long melody, so the entire 2-bar II V is filled.
Or, you can for example work with shorter melodies, e.g. dividing this melody into two 4-note melodies, then once collecting more melodies, trying to combine those with each other.
basically, exploring is the key, trying things out, and hearing which combinations sound good.
