Even when converting .midi to notation, the notes are rarely aligned with the bar lines and it always takes considerable adjustment. The left hand is particularly troublesome because notes are held down and then additional ‘voices’ added in the middle of the chord.
For all transcriptions, Ian - one of our Australian students - creates something similar from a midi file, then he aligns the chords up accurately so that the chords are placed in the correct bars. He then passes the XML file over to me and i run it through Sibelius to add the internal voices, ensure the rhythms are correct and generally try to notate the arrangement as accurately as possible.
Ian and myself will definitely be using this AnthemScore software moving forwards. Thanks very much for sharing it!!
ps. I have enabled .xml format uploads so that should work fine now. I think it’s important that we can share every type of file extension on here.
‘Stiller Beobachter’ is the name of the song? I’m guessing it’s a German song by the name?
The first step would be to find a lead sheet or a score containing the melody and the chord changes. I just checked and it doesn’t appear to be in the jazz fake books. Let me know if you can find one.
An amazing performance of “Satin Doll” from Michel Petrucciani.
I like his single melody note line that he introduces at 2:40 and then at 3:35 he encourage the audience to click on beats 2 & 4 - then they slowly start to join in and he continues his swinging bluesy melody line. Listen close and you can hear the major blues scale.
We’ll be covering this tune in the next few weeks… be sure to share your favourite version of this tune if you have one.
Awesome record Mark… all of McCoy’s 'Nights of Ballads & Blues’ is a brilliant album to study block chords.
Yes to answer your question he is using different types of block chords.
You can hear the ‘Red Garland’ voicing throughout - this is a rootless left hand voicing in the left hand and then he voices the melody in octaves in the right hand, usually an additional voice in between the octave too, try 4ths, 5ths or 6ths up from the bottom note.
He also uses the 4 way close in places. Most of the recording, he is playing the right hand in rhythmic unison with the left hand - in a locked hands style.
Another section I like:
At 3:00 onwards - he plays a phrase and then repeats it at a higher pitch. This works particularly well because the harmony moves up by a whole step - D-7/G7 to E-7/A7. This technique is a great way to ‘build a narrative’ in your improv.
He then plays some blues material and does a wonderful 16th note run up and down the keyboard.
There is a wealth of material that could be transcribed here. From long improvised lines, to short little fills here and there. And of course the rhythms he uses in his comping and to support his improvisation.
Unfortunately, there is no other way to absorb rhythm and this kind of feel. You must listen and emulate the jazz greats!
Try the following Mark:
Learn the form with left hand voicings (not very difficult)
Play along with the iRealPro App, set the metronome to 120 bmp, go into the ‘mixer’ settings… turn off the piano, change the drums to ‘click on 2 & 4’ and then also up the repeats to 20.
The chords are on the screen but you can also use a lead sheet if you wish.
Cycle around just playing left hand voicngs until you are very comfortable with the form. Just place the left hand voicings on beat 1 to begin with. Then mix it up, play on multiple beats etc…
After perhaps a few days of doing this, then play it underneath McCoy’s recording… this will give you a very unique perspective on how he is phrasing, where he places the chords and where he adds fills.
Transcribe using your ears. You should be able to hear when he uses the distinctive Red Garland-esque voicings… for this, just continue to play the left hand voicings that you have been playing, but try to work out the octave he is playing above… and most importantly copy his rhythms, phrasing and articulation.
I’ve done some rough planning for the jazz standard tutorial on this tune and we will look in detail at:
Pentatonic Voicings - to get the most out of the lesson… it would help if you are comfortable with the pentatonic voicings for C Major Pent, D Major Pent & F Major Pent - check out the lesson here on how to create these voicings: Pentatonic Chord Voicings | Pentatonic Harmony
Thanks for sharing Mark… I think it’s great for all students to have input into the jazz standard tutorials if they wish to, so that if there is a particular sound you want to learn about (like McCoy’s) we can then study and apply it in the lesson.
Cool, I’ll definitely check out the rest of that album.
And thank you very much for all of the information and practice tips. Having your comments and suggestions is extremely valuable and and very much appreciated.
Also, thank you for being open to input from members. I think it helps keep folks engaged. As for me, I couldn’t be happier with how things are going. Pianogroove is absolutely the best source for anyone who is serious about learning jazz piano, and I’m very glad to be a member. Thank you for all your efforts in putting it together and all the hard work you put into all the lessons.
Now I just need to find out how to clone myself because there seriously just aren’t enough hours in the day!
Yes do check it out Mark… I like his Round Midnight interpretation on that album:
Don’t be intimidated by the super-human runs up and down the keyboard
He plays once through solo piano, and then his trio join him at 1:50 - a lovely transition.
Again lots of block chords, this one tiny bit of his improvisation always amazes me (from 3:53 - 3:57) … such command and control over the rhythm!!
The whole improv is worth studying… some really great swinging lines in there too.
Thanks for the kind words Mark, I’m also happy with how the site has come together and lots of students tell me the improvements they are seeing which is really great to hear.
Encouraging this kind of sharing and discussion around the music itself is exactly where i wanted to take things and I’m positive it will improve everyones musicality.
The one mistake I see more than anything else is students trying to play and improvise jazz when they haven’t really done much listening themselves.
Sure, you can copy a chord voicings from a video tutorial, but to really feel the rhythm and direction of a solo, you need to put in the hours listening, studying and transcribing… I wish I realised this sooner!!!
Hi everyone. I’m new to the forum so please excuse any technical difficulties. I am at work and enjoying in your own sweet way and came across this version with Kenny Barron Hope you all enjoy.
John
Wow, that was great! Those guys are good! They all looked like they were having so much fun. The piano player had the chord changes on his phone. That was kinda funny. Thanks for Sharing.
Yes jamming is awesome fun… that is a jam with truly great musicians, not your average jam for sure!
Yes I also noticed he has the iRealPro up on his phone, I also thought it’s strange though because his solo is so confidently and precisely played… i highly doubt he is looking at the chord changes but perhaps he just used it towards the start where he was in more of an accompanying role. Again it’s unusual as it’s such a common tune.
If you go to any jam night, you will usually see musicians with the iRealPro app on their phone or tablet. Particularly if someone calls an unusual/uncommon tune.
I hear that in New York, at some jams, they won’t allow you on stage if you are relying on the iRealPro… ie. you have to know the chord changes inside out to be allowed to participate. I think that’s an anomaly though as NY has an extremely competitive jazz scene from what I have been told.
I really like how he starts the performance. Just hinting at the melody in places with some subtle fills and melodic decoration. It’s also nice how he sets up his trio to come in around the 1 minute mark.
