Presentation on theme: "Parker Blues Some common Parker tunes and other Jazz Blues songs."— Presentation transcript:
Parker Blues Some common Parker tunes and other Jazz Blues songs
Will cover a number of tunes Now’s The Time Billies Bounce Au Privare Straight No Chaser (Monk Tune) Blue Monk Mr. PC Birk’s Works All three of the 1 st 3 are in the key of F. Get used to it.
Chord changes You will need to know the following chords: –F, F7, F9, Gm7, Am7, Bb7, Bdim7, C7, Cm7, Dm7, D7, Em7. –Looks worse than it is.
Easiest is Now’s The Time Has a repeated melodic figure that makes it easy. Then a descending Line. A little hook at the end. Timing can be an issue – we will work on that.
This whole piece is in 8 th position. This is the opening riff and is very easy and is repeated throughout this song. Make sure you can play this. Note timing below the notes. Count 4 & 1 & 2 & 3 4 & silent on 4
First line is the opening idea from the last page played 2 times! (The B7 is optional)
2 nd line ½’s ½ of each measure is the same. 2 nd ½ will start a descending line. See arrows. Back to repeated idea.
Starts with same 5 note pattern then does a turn towards the end. First pattern in 2 nd bar should be to hammer pull. The 2 notes on the 7 th fret should be played with a stretched index finger. The last phrase is just an answer. Note the timing that it comes in on the and after 1 and then is almost an inverted rhythmic figure from the start of the tune. 1 (&2) 3 & 4 & 1 & 2 3 4
Billies Bounce. One of the most famous of Parker’s tunes. Not easy to play but you should all be able to master it. Chords on the next page.
Here is Billie’s Bounce from the Real Book Vol 2. We will do only the melody which is up to the repeat. For extra credit try to tab out and learn the solo. It isn’t all that difficult but will take some significant time.
Gm7 at the 3 rd fret. Like Am7 that is at the 5 th fret
Here is the goal! In a couple of weeks you should all be able to play the notes and the chords to this. Note that the tempo is very fast. Goal is to be able to play it at ½ speed by the end of the term.
Next slides take Billie’s Bounce one part at a time. Learn each one before moving on. Most of this is in 9 th position.
Stay in 10 th position. First note with index and slide up. 1 & 2 & 3 & 4 & 1 2 & 3 & 4 &
Some fingering options. Could be done in 11 th position and then play the C that is written on the 1 st string 8 th fret on the 2 nd string 13 th fret, or stretch your hand to the 8 th fret and play the line in 10 th position. (13) 1 (& 2 ) 3 & 4 ( & 1) & 2 3 4 (&
1 & 2 & 3 (& 4) & 1 & 2 (& 3 ) & 4 & 1 & 2 & 3 & 4 & For this section just watch the timing as it seems to turn on you. The held note in the first measure is on the and after 3 and in the next measure it is on the and after 2. The last measure is all 1/8 th notes so that should be easy from a timing standpoint!
One for you on your own Au Privare is another 12 bar blues in F. Not all that difficult but has some great lines in it. The chord changes are more modern than the others we have looked at. But very doable. Gives a good movement and bridges traditional bebop with blues bebop. Harmony is more advanced. Lots of II V’s in this. Note the Bb7 then next measure is Bbm7 to Eb7 back to the F. This is really a nice voice leading tool. This change really adds interest to the tune and hides a bit of the 12 bar blues.
First line. Take it one phrase at a time. A little bit of a tongue twister at first. The progression here is interesting the Gm7 to C7 is like a IV substitute. Leads nicely back to F – very common in Bebop. I really like the last measure in this line. You ½ barre and flatten the 3 rd finger then the index finger.
2 nd line. Tricky part here is the timing. Listen to it and try to feel it along with counting it. First measure particularly is a bit difficult to master the timing. Just take really slowly. By this point it is pretty easy. Plays well on the guitar.
All previous comments apply. I do put the C7 in at the end. The end is a turnaround of I VI7 II V. C7
Blue Monk Another Monk Tune. Melody is usually harmonized in 10 th ’s. Has a New Orleans funeral march feel. Great set of changes to give you a different blues feel than the previous tunes. This is played rather slow – like a balled. I wrote the whole harmony out. Very good to split the parts. One player plays the top line and the other player the bottom line. Then try as a solo piece – not easy.
Counting on this is easy. Count 1 & 2 (&34) 1 & 2 (&34) 1 & 2 & 3 & 4 (& 1 ) (&2) (& 34) Line starts totally chromatic then in the 3 rd measure goes scale wise other than the one skip. Feel is everything on this!
Very similar to the 1 st line until the last beat of the last measure on this page. The melody just moves up a 4 th. The last beat is a triplet – play very deliberate and separate each of the notes!!!
Last line. Same figure as before. Interesting part is that the melody is the same for both the F7 and the Bb but starts on different beats. The F7 at the end is not played the very last time through the song. Song must end on Bb.
Totally based on the C Dorian Mode. Goes up the scale then comes down. Make the 3 rd measure really accented. Watch counting on 2 nd & 3 rd measure, first is all 1/8 th notes. (12) & 3 (&4) & (12) (34) (& 1 2) (34)
This is just up a 4 th. Still same scale, same idea and same counting. 3 rd measure is the same as 3 rd in 1 st section. Last measure 1/8 th notes come in on beat 3. Last measure adds in the b5 note (outside the C Dorian Mode but in the blues scale).
1 (2 3 4 ) & 1 (&2) & 3 4 Watch timing on 1 st 2 measures. Last 2 measures same as before.
Solo For this 2 main scales to use the C Dorian Mode and the C blues scale. Make use of chord tones for the solo!
Modern Minor Jazz Blues Birk’s Works My favorite recording of this was Kenny Burrels.