Re: [Harp-L] Jazz chromatic books-fakebooks

[Philharpn@xxxxxxx]

Has anybody ever tried sitting down with a jazz fakebook -- there are a
several brands out there -- and played those tunes on a harp?

While transcribing a tune off a recording is certainly a valuable
experience -- wouldn't playing from a fakebook or Jamey Aebersold playalong book save
lots of time? (Most of the tunes mentioned are standards that have been
transcribed.)

The conversation is about playing jazz -- and most jazz standards already
have been transcribed. If people don't like a transcription, they can change
a few notes or the rhythm. But isn't that easier than starting from scratch?
Why reinvent the wheel?

Some people want to develop their transcribing skills. But perhaps others
just want to play the tunes -- and playng from a fakebook might be quicker to
start playing.

Phil



In a message dated 7/10/09 7:59:57 AM, ryan.eugene@xxxxxxxxx writes:


> Winslow writes:
> >>One problem with copying music played on other instruments is that a
> phrase may sound musical and natural on the instrument that orirgnally
> played it, but on harmonica may sound awkward and unmusical (or at least
> un-jazz).
>
> I agree that some transcribed solos may work and some may not, but I think
> if you try them, you'll figure out what works and what doesn't. It's a
> really valuable activity, well worthwhile - and as Richard says, it's not
> always a lot of work.  In terms of things working on harmonica or not
> working, I think the great players like Toots and Stevie were very
> successful at figuring out how to make things work on harmonica.
>
> If you transcribe, you will get the following:
> - the sound and feel of great playing in your 'fingers'
> - the notes, phrases and overall arc of each melodic phrase
> - characteristic licks of the player
> - the time feel of the playing, how to play great swinging eight notes
> etc.
> - your ear gets a lot better
> - you find out what doesn't work
> - you get to play at tempo and find out how to handle this - and the types
> of things that work at tempo on harmonica
> - it's a lot of fun playing the same lines/solos/notes/bends as these
> great
> players - even if you're just copying, you're playing great music and it
> feels like that!
> If you analyse the playing afterwards if you have some theory, you can
> probably see why certain note/pattern choices work.  The danger in not
> applying any analysis/theory is that you may not be able to take what you
> learned from that solo and extrapolate it to other tunes - but equally,
> there's not much point in playing reams of scales if it doesn't sound like
> jazz.
> I've transcribed a reasonable number of jazz tunes in the last year or so,
> both on and off the instrument, and here are some of the tunes and
> conclusions I've come to about them (dunno if it'll be of much use to
> anyone, but it might show some of the surprises I got and some things I
> learned):
> - Miles Davis' solos - work great on harmonica - no real surprise
> - Lester Young's Body and Soul - works well, but can sound a little stiff
> on a Super 64 chrom (compared to Lester) if you play it in the same range
> -
> also uses a Bb note lower than the 64 range
> - Jim Hall's Stella - works really well on harmonica - that was surprising
> to me, and this was a great find as I love Jim's playing
> - a jazz blues walking bass solo on a Super 64 - good to get the quarter
> note feel and how the player approaches each chord, but on the down side,
> on
> the 64 you have to either play too high or jump up or down in spots, which
> makes it sound a bit different than the recording.  This one was
> interesting
> because the solo was definitely not according to the formulae you see in
> jazz books for playing bass lines. Yeah I know, should have used a bass
> harp
> - no harm to be able to do it on the spot on your main harp though.
> - Wynton Kelly's piano solo on Freddie Freeloader - only some parts work
> well, which was surprising as it's a pretty bluesy solo and relatively
> simple.
> - Parker solos - really hard to make it at the tempo, and can sound quite
> unnatural - but some of it works!
> None of this is to take away from other approaches, and I very much look
> forward to Winslow's book on jazz chromatic harp. I still recommend to
> transcribe as well.
> Eugene
>
>




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