Blues for Alice Melody 1 – Correct Notes, Ghosted Notes
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Ben f.says
Thanks Bob – while learning this I though I paid extra attention and caught all of the mistakes but you did point some that are new to me.
One thing I think I’m hearing that you didn’t mention:
(My perspective is Eb)
on the 2nd bar, with the C#dim, I hear a glissando between the C# and G# rather than just a ‘jump’ between these two notes. WDYT?
This was great, Bob, thanks. I’ve been slowing down the track to try to figure out those ghosted and other notes, but thought I heard somewhere in your videos that it was better to transcribe at full speed, so was feeling a little guilty for “cheating.”
Can you elaborate a little on why it may be better to avoid slowing down tunes to transcribe, given that sometimes you may have to anyway? Thanks very much, Milo
Why NOT do it on tenor? If you had your tenor on a jam session and this head was called, would you rather 1) run home to grab your alto, 2) sit it out, or 3) play! lol It’s trickier on tenor bc you either have that leap down to low C or you’d play it up an octave putting you in the lower crest of the altissimo and using palm keys. Any way you slice it, it makes for fantastic technical practice and voice leading language.
Hello, thanks for this great lesson. I am curious how you might translate “swallowed” notes to the tuba, and guitar. Would they just be ghost notes at that point? I am not even sure how to play ghost notes on the tuba…
Hi there! This is awesome! Thanks. I have an ALTO Omnibook I purchases in 91 that is falling apart, and a copy on my iPad. On mine, measure 11 is all D7, not F#- B7. I’ll ty to post a photo.
That’s because the last two measures (11, 12) of the Blues can be various things. Sounds like yours returns to the I chord (D7) whereas this has a 3625 (iii, VI7, ii, V7) turnaround.
Ben f. says
Thanks Bob – while learning this I though I paid extra attention and caught all of the mistakes but you did point some that are new to me.
One thing I think I’m hearing that you didn’t mention:
(My perspective is Eb)
on the 2nd bar, with the C#dim, I hear a glissando between the C# and G# rather than just a ‘jump’ between these two notes. WDYT?
Anyway thanks for the inputs!
Milo B. says
This was great, Bob, thanks. I’ve been slowing down the track to try to figure out those ghosted and other notes, but thought I heard somewhere in your videos that it was better to transcribe at full speed, so was feeling a little guilty for “cheating.”
Can you elaborate a little on why it may be better to avoid slowing down tunes to transcribe, given that sometimes you may have to anyway? Thanks very much, Milo
Ronald M. says
Ugh, I’ve been playing this wrong my whole life! It shows you what a little real research can teach you. Thanks, Bob!
Richard B. says
same… (lazy) tyranny of the written note.
ghosted note thing is a deep dive I’ve frequently given up on…
Great lesson Bob, just starting this one
Matthew F. says
Wondering whether to do this one on Tenor or not. I rarley play alto anyome. Could do it on EWI too.
Bob R. says
Why NOT do it on tenor? If you had your tenor on a jam session and this head was called, would you rather 1) run home to grab your alto, 2) sit it out, or 3) play! lol It’s trickier on tenor bc you either have that leap down to low C or you’d play it up an octave putting you in the lower crest of the altissimo and using palm keys. Any way you slice it, it makes for fantastic technical practice and voice leading language.
Alexander W. says
Hello, thanks for this great lesson. I am curious how you might translate “swallowed” notes to the tuba, and guitar. Would they just be ghost notes at that point? I am not even sure how to play ghost notes on the tuba…
Angela K. says
Hi there! This is awesome! Thanks. I have an ALTO Omnibook I purchases in 91 that is falling apart, and a copy on my iPad. On mine, measure 11 is all D7, not F#- B7. I’ll ty to post a photo.
Bob R. says
That’s because the last two measures (11, 12) of the Blues can be various things. Sounds like yours returns to the I chord (D7) whereas this has a 3625 (iii, VI7, ii, V7) turnaround.
D7 B7 | Em7 A7
and
F#m7 B7 | Em7 A7
function the same
Angela K. says
Thank you. I understand. Interesting to see the differences in what is used in certain omnibooks vs. other omnibooks! Thanks!
Angela K. says
can’t seem to upload a photo, or pdf..sorry
Bob R. says
The best way to share an image in the site: https://lessons.bobreynoldsmusic.com/forum/how-to-use-this-forum/how-to-share-an-image-in-the-forum/#p6974
Angela K. says
Thanks!