Christopher Smith / 2006/04/30 / 03:47 PM wrote:
it really gets interesting with composers such as late
Duke, Gil Evans, Clare Fischer, Bob Brookmeyer and Maria Schneider.
Hm.
It always puzzles me when George Russell isn't mentioned among them.
When we play in Europe, we usually make
On May 1, 2006, at 9:39 AM, A-NO-NE Music wrote:
Christopher Smith / 2006/04/30 / 03:47 PM wrote:
it really gets interesting with composers such as late
Duke, Gil Evans, Clare Fischer, Bob Brookmeyer and Maria Schneider.
Hm.
It always puzzles me when George Russell isn't mentioned
Christopher Smith / 2006/05/01 / 10:06 AM wrote:
Well, George is an important and influential composer for sure, but I
never knew his harmony was noted for being linear.
This is pretty OT so we should stop soon :-)
Yup, they are linear all right. His Lydian Chromatic Concept of Tonal
On Apr 29, 2006, at 10:30 PM, A-NO-NE Music wrote:
By the way, if the first chord, the correct version:
G - F - Cb - Eb - G - Bb
is supposed to be reproduced exactly how it is, it must be spelled 'Eb
over G7'.
Thanks for the ongoing discussion about this!! I'm learning a lot
from you
On May 1, 2006, at 2:36 PM, Jacki Barineau wrote:
On Apr 29, 2006, at 10:30 PM, A-NO-NE Music wrote:
By the way, if the first chord, the correct version:
G - F - Cb - Eb - G - Bb
is supposed to be reproduced exactly how it is, it must be spelled 'Eb
over G7'.
Thanks for the ongoing
Jacki Barineau / 2006/05/01 / 02:36 PM wrote:
Thanks for the ongoing discussion about this!! I'm learning a lot
from you all! Okay - so it's appropriate to actually put a double
decker chord symbol, such as Eb/G7? Is this common practice these
days?! Just never heard of doing that :)
At 20:36 01.05.2006, you wrote:
On Apr 29, 2006, at 10:30 PM, A-NO-NE Music wrote:
By the way, if the first chord, the correct version:
G - F - Cb - Eb - G - Bb
is supposed to be reproduced exactly how it is, it must be spelled 'Eb
over G7'.
While I can agree with the Fsus/G for the
On May 1, 2006, at 3:21 PM, A-NO-NE Music wrote:
Jacki Barineau / 2006/05/01 / 02:36 PM wrote:
Thanks for the ongoing discussion about this!! I'm learning a lot
from you all! Okay - so it's appropriate to actually put a double
decker chord symbol, such as Eb/G7? Is this common practice
Christopher Smith / 2006/05/01 / 03:35 PM wrote:
G7(b13#9) doesn't give the pianist much choice about what extensions to
add, either, so either one will fill the bill for a pianist.
There are a lot of pianists switches from #9 to b9 and add b5, or even
play tri-tone sub.
Don't get me wrong. I
Hi Dennis,
You asked for some PDFs etc on the list, but everything just bounced back
to me today. Just FYI, as I've since deleted them. :(
Thanks,
The Other
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On May 1, 2006, at 12:51 PM, A-NO-NE Music wrote:
On the other hand, when I write big band chart, most of comping are
written in poly chord because this is the only way to make sure they
don't crash with horn voicing.
Hi Hiro,
Don't comp when there are voicings in the horns. works for me.
On May 1, 2006, at 12:51 PM, A-NO-NE Music wrote:
On the other hand, when I write big band chart, most of comping are
written in poly chord because this is the only way to make sure they
don't crash with horn voicing.
Hi Hiro,
Don't comp when there are voicings in the horns. works for me.
At 10:36 PM -0400 4/30/06, Darcy James Argue wrote:
You want the guitarist to tune their top E string up by *eight semitones*???
I'm not a guitarist, but my strong suspicion is there's no way to do
that without serious risk of breaking the string.
It sounds like this part is not playable on
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