But notice there's a rhythmic component to it. That tells you that McCoy's art is about connecting things. Play it like that and you may see that it breaks into two chords - F7sus4 (one measure) followed by Cm7 (one measure). To make it easier to analyse, push it back one beat so it starts on 1 (the downbeat of the measure). Klink, I forget to add the Passion Dance transcription which is cell over all - I'm mostly in tertian territory. At some point I'd would like to be able to play "Impressions", "Passion Dance", "F - blues a'la Matrix" "Softly as in a Morning Sunrise" using these concepts, but it's a long way to go.Īnd it's not just the outside playing that needs work: I'm a novice with basic pentatonic. I guess each tune has to be tackled differently. Especially the "how" It seems like some of it is based on what the left hand does (passions dance) but I must admit some of it seem pretty random and the lines doesn't sound that good when played in isolation. The question is where, when and how to play outside the harmonies. I understand the first concept of the playing on "Herzog", not so much the playing on passion dance et al. And then there's the tunes which consist of one or two chords (impressions, passion dance). I took down this solo by Chick and he's basically just playing the changes relaying heavily on pentatonics without doing any side stepping.
The tunes which features sections of "modal" chords for four or eight bars in which there aren't much sidestepping: https:/ / watch?v=c6P4ckoHqlY. There seem to be two sides to modal playing. EVERYTHING WAS SHOWN ME ON PIANO BY COLTRANE HIMSELF ".Since then, theoretical thinking has made some progress. His answer was: "I know the same theory like all of you. KlinkKlonk,what would you like to know exactly.My students asked a similar question to McCoy when he conducted masterclass in my Academy (group of only 10 students).
0 kommentar(er)
