Blues for Alice Melody 1 – Correct Notes, Ghosted Notes
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Comments
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.
Ahhhh, I got that thought long ago!
About the first measure, the ghosted notes, I concluded (kinda) that the first ghosted note is C and the second one is B! (on tenor)
Even tho in my mind there will always be the question of: Was that the ghosted not effect that make me wanna listen one note or another? (in the case on the first ghosted note) or about the “tuning” of the recording. So ye, we’ll never now haha but for now I’ll play a very ghosted C and a ghosted B haha
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!
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
Ugh, I’ve been playing this wrong my whole life! It shows you what a little real research can teach you. Thanks, Bob!
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
Wondering whether to do this one on Tenor or not. I rarley play alto anyome. Could do it on EWI too.
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.
D7 B7 | Em7 A7
and
F#m7 B7 | Em7 A7
function the same
Thank you. I understand. Interesting to see the differences in what is used in certain omnibooks vs. other omnibooks! Thanks!
can’t seem to upload a photo, or pdf..sorry
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
Thanks!
Ahhhh, I got that thought long ago!
About the first measure, the ghosted notes, I concluded (kinda) that the first ghosted note is C and the second one is B! (on tenor)
Even tho in my mind there will always be the question of: Was that the ghosted not effect that make me wanna listen one note or another? (in the case on the first ghosted note) or about the “tuning” of the recording. So ye, we’ll never now haha but for now I’ll play a very ghosted C and a ghosted B haha