#Joyspring transcription simulator

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#Joyspring transcription simulator

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(The big difference I would say is the mastery of the diminished chord.)īut it’s the same thing - modular harmony, transplantable lines, ignore the original melody’s harmonic implications.

Progressions that seem random in the ii v approach suddenly make total sense. The handling of minor ii Vs for instance, is brilliant imo.

So I tend to think of the ii v thing as a really good trick that caught on because it was easy to teach and use.Īnyway the ii V concept, is encapsulated by Barry Harris thinking in the dominant scale - but in terms of line building I find it a bit more flexible and less clunky. His Clinic column in the International Trumpet Guild Journal has been an important pedagogical voice to thousands of trumpeters around the world since 1995. tame example but keep applying that logic and you end up with Benny Golson. Frank Gabriel Campos is a renowned classical and jazz trumpet soloist and the author of Trumpet Technique (Oxford University Press, 2005), widely regarded as the best single source. Stella is the obvious example.Īn important early example of dim -> sideslip is probably Groovin High were the original turnaround Gm Gbo7 Fm Bb7 is subbed Gm7 Gbm7 Fm7 Bb7.

Obviously they knew the melodic minor relationship, but it had never occurred to them to turn the relationship around.)Īnyway, it seems manifest people were relating minor and dominant (and what modern educators call m7b5) since the 1920s.Īnd yet I feel that the heavy ii V thing really comes in later (obviously you get more ii Vs in post bop accompaniment.) Specifically I think in terms of subbing for dim7 chords. (I did have to show a student that they could play dominant bebop language on minor. That said relationship between minor and dominant is a pretty fundamental thing to understand for any jazz musician and predates the bop era. Sent from my SM-J727P using TapatalkThat sounds about what I expected. subbing in chord patterns which 'reference' a different tonal area. This is a big part of his 'creating relationships'. There's that, but there's just as much a related 'would-be V7#11' to be put behind minor chords. There's often an over-focus on 'throwing a II-7 in front of everything'. This is the way Reg talks about it, in both senses: 1)that it was a BANDSTAND thing in terms of development and 2)that it's about the sub 'relationships' that it creates. Transcription - Max Roach - Joyspring 5.00 Transcription - Elvin Jones - Thads Pad 5.00 Trancription - Elvin Jones - Fee Fi Fo Fum 5.00 Transcription - Elvin Jones - Gingerbread boy 5.00 Transcription - Tony Williams - ESP 5.00 Transcription - Tony Williams - Nefertiti 5.