I sang pennies from heaven. Wally didn’t want me to scat. I mean, he said that I was good at it. I guess for not ever really done it before, I should be satisfied. I guess he doesn’t want anyone scatting for the rest of the semester.
He also doesn’t like irealb. He sent me to this other site which was pretty cool.
I’m getting more and more comfortable with the microphone. I also got some other work done during class.
Big band is fun… I need to practice more. I asked a lady in the office, if I have 30-45 minutes to practice, if I still should.. She said, “you should practice even if you have 2 minutes.” one guy said that you often get better practices in short times b/c you are more focused.
In improv class, we had our exam. i find this theory and the patterns of the scales to be soooo beautiful. no one had ever explained this stuff to me.
there are 4 alterations:
E9(b13) is whiletine!
Ma7 Dom7 Aug7 have no natural 11!
B(b9) – diminished up a half step
b9b13 and #9b13 – altered dom
9b13 – wholetone
13(#11) – lydian dominant (lowered 7th)
highest unaltered number first
11 is a sub for the 3
11 is 1/2 step from 3
43 suspension – Ahhh Men!
can’t hear the chord.. suspended 11
1 – ionian -major scale
2 – dorian
3 – phrygian
4 – lydian
EXAM: what key to play for chords, scale, altered scale, 8 bar tune analysis.
Building altered scales from altered chords:
- 9′s – b9 there will also be a #9 in the scale and vice versa
- 11′s – any alteration on the chord there will be a #11 in the scale
- 13′s – b13 in the chord there will be no 5 in the scale
- b9 implies #9
- any alteration #11
- b13 no 5
altered scales always have 2 9s in it- don’t call it a 2
A13 – D major scale
A13 (b9) – A, Bb, B#, C#, D#, E, F#, G, A
(1/2, 1, 1/2, 1, 1/2, 1, 1/2, 1)
dimished scale, altered – go half step up to the b9
ALTERED DOMINANT SCALE
ascending melodic minor
VI7 alwas has a b9 and b13, but vice versa
ray likes lemonade juice boxes
i made first tenor again.. lol… 7 saxophones tried out… i think i get this spot, b/c i’m good with computers and can help with websites..
i need to practice practice practice!!!
anyhow, i’m taking a class on singing… the singers we talked about were as follows.
- sarah vaughn – straight
- ella – acrobatic – blue skys
- anita oday – lived to be a senior citizen
- carole king
- amy winehouse
- patsy cline
- dianna krall
- “hold back” christina aguilera!
- nat king cole
- tony bennett
- Nora Jones
- Stevie Wonder
- Billy Joel
- Elton John
He said that Bruno mars and Adele stuck with the real instruments while all others focused on electronic.. it’s such an interesting divide.
The instructor, wally said that we can entertain him even if we sang off key… that singers always get the credit.. and that singers are always more moody that instrumentalists… haha.
my first song I sang was, Autumn leaves.. and i forgot the lyrics.. haha… i’m also afraid of the mic, but that was to be expected.
anyhow, i scatted a chorus and he said that the chords going down was a challenge..
i need to ask ray what that’s called (also about the type of tags at the end of songs)..
anyhow, i think he said i had a good voice. one of the students asked if i played saxophone, he said that my high notes were really rich (or something)… haha, i can’t wait to get used to this!
he told me to maybe stick with this song.. i let everyone else move on.. eh, i want to do pennies from heaven!.. they sound very similar.
for IV chords
- 2 ma7 chords in a row built in 4ths – vice versa
- min7 with a ma7 up a half.. iii IV and vice versa
If you don’t see these 7 situations for a minor then it is a ii
if you don’t see the 2 situations for a ma7 then it is a I
then we analyzed Body and Soul… i gotta admit, i needed a little help, so i eaves dropped on the advice he was giving a nearby student.
90% of songs start on a I… 9% start on the ii.. 1% start on the IV
you learn all this at the university of 52nd street in NY city…
i saw a buncha dominant chords going down, and asked if that was keychange/keychange/keychange.. he said yea.. i said there was one of those in autumn leaves too!..
i asked why there needs to be a VI dominant.. and he said b/c 3rd and 7th are tritones …
dominant chords want to move and vi subs to a I, which stays in one place… stays still
C13 – B13 – Bb13 – Bb7b9b13
tritone sub halfstep… dominant VI is a pivot chord….. function as 2….
I’m quite sleepy right now but i have so much to update..
i’m taking 3 classes: big band, improv, and voice…
ray said that he’ll never learn excel as he hands out a photocopied sheets for lab.
he said that beginning improv is more like jazz appreciation…
he also made a joke about how you’d get a gig at the shadow brook where they’ll try to pay you in teriyaki chicken.
the new stuff this term are the altered chords and the diminished scales…
he has us starting the diminished scales (man, i need to start that)… whole-half-whole-half… different scales going up than coming down…
our tendency is to play minor…
he said that our progress is very step like, so we just keep practicing till we reach the next step…
dimished – classical era – heavy in jazz in early 60s and hung around… Dizzy gillespie used it a lot
whole tones were also in the 60s, but no one plays those anymore..
never buy sheet music, lowest form of music / worse than fakebook, wrongbook… (1976 took off of record?)
TURN AROUND – you can’t know to put it there until you’ve been there and missed it!
2 measures for turn around – most songs are 32 bars – 4 sets of 8
we will bring our instruments in 2 weeks.. half steps, diminished up and down.
half diminished or m7b5?
“you must play, you need to put the theory into playing”
I knew the difference.. sorta… i mean i remembered that diminished takes you up or down a half step..
i couldn’t remember the minor function, and he said “don’t get weird on me”.. haha
minor takes you to a dominant up a 4th (90%)
how do we find the hard parts? by figuring out the easy parts first.
always something wrong with songs in the wrong book… building songs backwards… learn 80 songs first before knowing a good progression…
4 ways of finding a iii
- 2 min7 in a row 1 step a part
- 3 minors in a row up in perfect 4ths -> dominant – 3625
- m7 ma7 up a 1/2 step and vice versa
- what looks like 2 ii Vs in a row 1 step a part
the second dominant is a VI7 dominant or a V/ii (5 of 2) -> the turn around progression
secondary dominant is a V of something other than I.
ii subs for I
if the bass player plays 2 A’s -> D is next.. if the bass player plays A – G, then turn around…
weddings are like $180… a gig in ny is like $11 for like 8 hrs…
‘I’ makes it feel like it’s over… so iii is better…
the diff between a Fma and an Fmi is an Ab
F harmonic minor – Db Bb Ab – used on a V chord
natural and melodic are used on a I chord
dominant leading to a minor is B9b13 shows going to minor
fakebooks dom->minor, but alterations.
major 7 ending – 69 chord when Do is in the melody it is a ‘necessity’
90% of tunes end in Do
cannoncall adderly 2-6 go right to the horn
- 2 minors in a row 625 and up a 4th dom
- maj7 min7 down a minor 3rd
- dom min7 up a step V vi
had some deepening of friendships this term… got to hang out a bit with the old combo, when the guitar player was recording tunes… bought them all appetizers… its such an interesting difference in lives… all my other friends are “professionals”.. haha.. met some new people too..
today, after the piano-sheets final… i went over to a classmates house and we jammed to autumn leaves.. haha.. i was on keys.. chris on guitar.. chris on trumpet… emily on voice… love the spontaneous jam seshes…
we ended the improv class with circle of 5ths one measure each… i gotta admit that i can go by ear a little bit, so ray doesnt have to keep reminding me where i am, but halfway through, i get a bit muddled.. haha…