billie's bounce transcription
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you mentioned that you transcribed from a saxaphone for guitar so that to get the idea if the saxophone is a B flat instrument and he is doing Billies Bounce in the key of F major the guitar and piano which are in C would play in the key of G major. When you are working on phrasing I would suggest that you combine all the approaches I discussed in this lesson. F7 B 7 B 7 B F7 Gm7 C7 F7 C7 F7 B 7 B F7 B 7 F7 Am7 D7 9 Gm7 C7 F7 D7 9 Gm7 C7 A o Billie's Bounce o 1 Now's The Time Charlie Parker Charlie Parker. Learning from composing and analyzing is only one way of the ways to internalize these things. The rest of the bar does not contain anything that gets an accent. Leave a comment on the video or send me an e-mail. I'm Always Drunk in San Francisco: McCrae/Wolf, Chord Melody 123 v Chord Melody Assembly Line. The goal of the century they say! Did you do it at real speed on the youtube video, or using something like the slowdowner or transcribe? Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases. At the same time you can reinforce this process with composing and exploring what lines you can come up with that has notes that you can give an accent. On the Gm7 the A on the 2& get’s an accent., and for the rest there is no accents in the Gm7 line. Jazz Blues – 3 Easy Techniques That Make You Sound Better, Triplets Can Make Your Jazz Solo Sound Amazing, How To Make One Arpeggio Into 25 Great Jazz Licks, Easy Way To Make Your Jazz Chords Sound More Interesting, Why This Is The Most Important Scale Exercise In Jazz. It just seems to eq it to a less 'in your face' sound and is quite pleasant. If we take the two heavy beats in the bar, 1 and 3, then there are two types of off-beats we can have: The one before a heavy beat: 2& and 4& and the one after a heavy beat: 1& and 3&. Boss Bird Disc 1. 1945-11-26. I view transcription of jazz solos to be an essential part of learning how to improvise. Finally it is also really good to have some solos that you really copy and play along with the record to really get into how the guitarist is phrasing. solo on Billies Bounce. The line on the D7 moving to Gm7 does have an accent. Thanks for that. Used, I bought this new about a year ago. When going straight into the PC I like the sound of my Big Sky reverb with the cab switch on. I transcribed it and will go over where the accents are. Adaptive Radius Technology. solo on Billies Bounce. Ont the C7 the G on the 1& is a high note which then gets an accent. Billie's Bounce, Bass Clef chart C. Parker F 7 B 7 F 7 C-7 F 7 5 B 7 B 7 F 7 A-7 D 9 G-7 7 C 7 F 7 D 7 1.Created Date: 7/28/2016 9:32:56 PM One accurate version. I sold my original ES-165 a few years back for something like $1400 or $1500, I think. The 3 different examples below show how you can add an accent on 1& by making that note a local high note. Copyright © 2020 Modern Drummer Publications. They both contain right notes and the melodies are moving from chord to chord in a logical way, but the second one sits better in the groove and is easier to phrase in a nice way. It’s just like new and has never left the house. Of course it will help you recognize and hear where accents are and understand the phrasing examples you hear on a conscious level. The Gm7 C7 line at the end of the chorus actually has accents on all off beats in the bar, which is of course possible, in this case it is also part of a blues phrase that somewhat asks for it.
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