Nice playthrough and series! One thing about this song that baffles me is in the bar before DbM7, it's sometimes written at Bb-7, probably because of Sonny's recording with Miles. But, Wes and even Miles's version later on do the Bb7 as you have. In your experience, is that what you expect when you play the song, or do you hear the Bb-7 sometimes?
Good question! I go back and forth on this one. Miles changed so many people's songs that I don't know which is the "real" way to play it. I usually just go with what the rest of the group prefers.
Very nice work again with those coordinated hands that are a real gift compared to a lot of the rest of us out here. ii V7 I progressions descending by half steps through the very non- common tone keys of C to B to Bb in addition to the added twists of going from more comfortable modes of F minor and Bb minor to their parallel and more major sounding dominant 7ths for much shorter time frames before jumping off a cliff---er go then trying to morph a Bb7 mode into Dbmaj7th are the hardest parts of making Airegin smooth. That and I really have to think in terms of keys esp. when trying to make it all motivic and musical too---as a lot of novice ears regard bebop as chaos, when it was actually the opposite and Charlie Parker, along with Miles Davis and Sonny Rollins studying cantus firmus, octave displacement, and analyzing Bach so that the rest of us might continue their fine work in our own ways....
Great points about bebop! There's an audio recording of Bill Evans practicing this. He doesn't sound like "Bill Evans" - he sounds like someone finding ways to navigate these changes!
@@rondrotoskeyboardimprov9453 Just learned about the cantus firmus and octave displacement recently from Rick Beato, or reviewed his video and it solidified it in my mind based on my experience transcribing, even though in jazz, rules are meant to be broken and of course are---esp. when building dramatic tension during a solo. Had been doing transcribing off and on for years and really don't like doing it since it's a pain since I don't possess perfect pitch and unfruitful busy work in a vast many ways unless I need to figure out charts/tunes from scratch----, but when thinking about Bud Powell's stuff too, a lot of his lines but also folks like Chick Corea----reverse direction a lot esp. when encountering intervals larger than a 4th. But all the direction reversals and intervallic variety make it more interesting too vs. just linear scales.
@@pwg8379 Instead of transcribing by immediately writing down the solos, try singing them along with the recordings for a few months. Then, you can write it down or not, and you'll have internalized it pretty well aurally.
@@rondrotoskeyboardimprov9453 Great point and advice, although with the way I don't sing, it might be a more overall mental impression of modes and chromaticism that I wouldn't repeat exactly the same way. I also do ear training with a virtual piano on my Android phone with slowed down accompaniment tracks that repeat chords to tunes to help me really learn them before I sit down at my privia, esp. since at a real piano I also tense up and the phone helps my brain relax so it can pre-learn better----but that can also double to a form of "real time transcription/imitation" where I try and play along with various soloists, instead of stopping, starting, writing to produce something that I won't look at often and often won't be able to read either, given all the eraser marks or corrections.
nice. novice jazz pianist here. Hope I can get there some day.
You will! The important thing is to enjoy each step along th eway.
Good one you sound right
Thanks Christian - it's such a great set of chord changes to improvise over!
Nice playthrough and series! One thing about this song that baffles me is in the bar before DbM7, it's sometimes written at Bb-7, probably because of Sonny's recording with Miles. But, Wes and even Miles's version later on do the Bb7 as you have. In your experience, is that what you expect when you play the song, or do you hear the Bb-7 sometimes?
Good question! I go back and forth on this one. Miles changed so many people's songs that I don't know which is the "real" way to play it. I usually just go with what the rest of the group prefers.
Nice. I closed by eyes and soakedit all in.
I listen to music like that too. Have a great day :)
Very nice work again with those coordinated hands that are a real gift compared to a lot of the rest of us out here. ii V7 I progressions descending by half steps through the very non- common tone keys of C to B to Bb in addition to the added twists of going from more comfortable modes of F minor and Bb minor to their parallel and more major sounding dominant 7ths for much shorter time frames before jumping off a cliff---er go then trying to morph a Bb7 mode into Dbmaj7th are the hardest parts of making Airegin smooth. That and I really have to think in terms of keys esp. when trying to make it all motivic and musical too---as a lot of novice ears regard bebop as chaos, when it was actually the opposite and Charlie Parker, along with Miles Davis and Sonny Rollins studying cantus firmus, octave displacement, and analyzing Bach so that the rest of us might continue their fine work in our own ways....
Great points about bebop! There's an audio recording of Bill Evans practicing this. He doesn't sound like "Bill Evans" - he sounds like someone finding ways to navigate these changes!
@@rondrotoskeyboardimprov9453 Just learned about the cantus firmus and octave displacement recently from Rick Beato, or reviewed his video and it solidified it in my mind based on my experience transcribing, even though in jazz, rules are meant to be broken and of course are---esp. when building dramatic tension during a solo. Had been doing transcribing off and on for years and really don't like doing it since it's a pain since I don't possess perfect pitch and unfruitful busy work in a vast many ways unless I need to figure out charts/tunes from scratch----, but when thinking about Bud Powell's stuff too, a lot of his lines but also folks like Chick Corea----reverse direction a lot esp. when encountering intervals larger than a 4th. But all the direction reversals and intervallic variety make it more interesting too vs. just linear scales.
@@pwg8379 Instead of transcribing by immediately writing down the solos, try singing them along with the recordings for a few months. Then, you can write it down or not, and you'll have internalized it pretty well aurally.
@@rondrotoskeyboardimprov9453 Great point and advice, although with the way I don't sing, it might be a more overall mental impression of modes and chromaticism that I wouldn't repeat exactly the same way. I also do ear training with a virtual piano on my Android phone with slowed down accompaniment tracks that repeat chords to tunes to help me really learn them before I sit down at my privia, esp. since at a real piano I also tense up and the phone helps my brain relax so it can pre-learn better----but that can also double to a form of "real time transcription/imitation" where I try and play along with various soloists, instead of stopping, starting, writing to produce something that I won't look at often and often won't be able to read either, given all the eraser marks or corrections.
@@pwg8379 Great stuff!
Wow i just found out about this channel, amazing
Welcome, Julian! Enjoy the videos, and good luck with your music :)
Okay, Nigeria, what e great funfact
Yes!