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James Armstrong
United States
เข้าร่วมเมื่อ 12 มิ.ย. 2011
James Armstrong Music ®. USPTO Reg. No. 7,438,692. All Rights Reserved.
Official TH-cam channel for James Armstrong, San Francisco Bay Area composer / pianist.
Member, BMI and Artists Recording Collective (ARC). Available, on hire, for performances, lessons, and transcription from source recordings.
Official TH-cam channel for James Armstrong, San Francisco Bay Area composer / pianist.
Member, BMI and Artists Recording Collective (ARC). Available, on hire, for performances, lessons, and transcription from source recordings.
วีดีโอ
Paraphrase of McCoy Tyner’s “Rotunda”, from the recording Inner Voices (1977).
มุมมอง 2021 วันที่ผ่านมา
#mccoytyner #auditorymemory
"Prelude to a Kiss", by Edward Kennedy Ellington.
มุมมอง 20921 วันที่ผ่านมา
A paraphrase of Ron Carter's contrabass solo on the McCoy Tyner recording, "Supertrios". #roncarterbassist #auditorymemory
“Hi-Fly” by Randy Weston, reinterpreted.
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#randyweston #JamesArmstrongMusic #pianoimprovisation
Key center studies, second series. Live recording; no edits.
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#JamesArmstrongMusic #piano #jazzpiano #jazzimprovisation
An analysis of music by Tadd Dameron and Sonny Clark. "Tadd's Delight".
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#jazzpiano #tadddameron #sonnyclark #JamesArmstrongMusic #jazzpianolessons
“Tadd’s Delight.” Authentic changes from the period. #tadddameron
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@JamesArmstrongMusic
Andrew Hill: “July 10”.
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From the Steeplechase session, Divine Revelation. #auditorymemory #andrewhilljazz #JamesArmstrongMusic
“Tenor Madness”. A first take, based on auditory memory. Live studio recording.
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“Tenor Madness”. A first take, based on auditory memory. Live studio recording.
Variations on Wayne Shorter’s “Oriental Folk Song”.
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Variations on Wayne Shorter’s “Oriental Folk Song”.
Variations on “Secret Love”. Herbie Hancock’s orchestration, recorded by Donald Byrd.
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Variations on “Secret Love”. Herbie Hancock’s orchestration, recorded by Donald Byrd.
Feeling the clave. ‘Rhythm’ changes in B flat.
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Feeling the clave. ‘Rhythm’ changes in B flat.
Variations on extracts from Messiaen: “The Technique of my Musical Language”.
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Variations on extracts from Messiaen: “The Technique of my Musical Language”.
Technical studies: counterpoint and contrasting levels of attack in blues form.
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Technical studies: counterpoint and contrasting levels of attack in blues form.
Variations and counterpoint on a pan-modal theme.
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Variations and counterpoint on a pan-modal theme.
Variations on “Pyramid”, by Edward Kennedy Ellington.
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Variations on “Pyramid”, by Edward Kennedy Ellington.
👏👏👏
Many thanks for listening, Elaine.
Vocal front line, first stanza: "Na-na, sa-ware-ee rubla, a ranga-ba-lu-bee, ga..." (x 4)
Strive for those first takes, because that's where the feeling is.
Nicely done!
Thanks for listening! The referenced recording is on Milestone; a duet performance by McCoy and Ron.
Years ago, McCoy Tyner said something to the effect that there's a lot of space between intervals, in music. To the point: in this piece, there are essentially three (3) key centers on which different / divergent tonalities can be superimposed. The technique was explored by composers as diverse as Busoni, Debussy, and Messiaen. But, this knowledge hasn't necessarily been absorbed by developing musicians, in time present.
Ideal place and music in my heart. Thank you so much ^.^**
Many thanks for listening! This is preparation for the August recording session.
Tadd Dameron and Sonny Clark epitomize the sounds of the era. So-called "changes" aren't what they appear to be; entirely flexible, revised on the spot.
Can I purchase any recordings of your comprovisations somewhere?
Certainly! All current commercial-grade recordings are available through my website www.jamesarmstrongmusic.com/ Thanks again for listening. JA
Hearing this while I sit in my living room, and the birds are singing along outside. Thank you. Blessings sir.
Thanks for listening! Sometimes, the harmonic chemistry is right on the mark.
You still got it, gramps 💪
Thanks for listening!
Nice man!!
Thanks for listening!
And, one other thing: if you're going to play "out", you need to understand where "in" is.
Brief compositions along these lines formed the basis of a great many recordings on Prestige. A rhythm section of reasonable technical skill can stretch out on these things.
Advice for Bay Area musicians, especially: tank the sheet music! Don't read your solos.
French piano, from Emmanuel Chabrier on, represents a distinct attitude towards music. It's about breath, orchestral color, and novel rhythmic schemes. Messiaen summarizes everything that went on before, and where it's headed.
James very nice. I am a pianist who is really into Ellington and Strayhorn tunes even obscure ones. I’ve never heard of “Pyramid.” What Ellington album is that on? Do you have a lead sheet or sheet music for it? If so where did you find it? I have gotten music for several of his lesser known compositions from the Smithsonian Archive and the Library of Congress. Thanks again for your presentation.
Rod, good morning, and thanks for listening. This piece is from the album "Afro-Bossa", on Reprise. However, I didn't use any written score as the parts emerged in three dimensions, from auditory memory. It's an excellent example of Duke's use of orchestral color; all parts extend from the piano, including the upper register stacks in fourths that are heard here. The original piece is about three minutes along, and is tightly controlled by the composer. The masterful ensemble with Sam Woodyard. th-cam.com/video/Fnz7tyhXV9o/w-d-xo.htmlsi=bOEOa7pm2VnP6mq0 Best, JA
Sounds lovely!
Super cool playing man! Glad you posted this today!
Thanks for your kind words, and your subscription. Yes, these first-take performances are volatile and lost forever if they're not recorded. The conservatories here would have us writing down every note, to the detriment of the art.
Fantastic performance! I've been enjoying your videos. Thank you!
Thanks for tuning in! Research and development continues.
🔥
Source recording is Blue Note / BLP 4051 (1962).
The Sonny Clark turnaround --> Fm7/Bb7, Ebm7/Ab7, Dbm7/Gb7, Cm7/F7.
What an awesome rendition of this classic song. Greetings from Canada and all the best in 2024!
@@JamesArmstrongMusic You are so very welcome 😁😁
You are such a talented pianist and I am loving what you do!
@@JamesArmstrongMusic Absolutely, it's a life long journey👊👊👊
ıts perfect
Hearing some Vince Guaraldi in this one!
Nice!
Thank you, Emma!
Such funky chords.
Thanks for listening!
From Andrew's Mosaic Select sessions (MS-016). Currently out of print. th-cam.com/video/lcI9oaMeBe0/w-d-xo.html
This phrase makes a brief appearance in McCoy's trio recording on Impulse. Blazing tempo, without a bassist and drummer.
Jackie McLean. Unusual intervals. Central theme is centered in C minor.
A Wayne Shorter composition, from the Miles Davis album, "Water Babies". The theme is based on modal fragments. The rhythm is central -- a wide-open, pantonal form.
Con gracias a mis profesores -- Señores Albéniz, Granados, y Busoni, para siempre.
Initial chord is F minor, major seventh. Its movement is entirely chromatic. I can't think of a better way to confound the expectations of a large ensemble !
A directly related essay. jazztokyo.org/column/special/post-88203/
The etudes are among the composer's most highly evolved works. Two books, published by Durand et Fils, are landmarks in modern classical music.
Focusing on rebounds, the single hand roll took quite a while to develop. Sticks need to move at the same speed, which is easier said than done.
Sticks are by NOVA, weight 7A. A bit more density brings out the resonance. Cymbals are Diril, Istanbul, Tongxiang, Jinan Fansi, and Zildjian.
Messrs. Young, Shaw, Henderson, McBee, and Chambers, some 58 years after the session. A wide-open form; intuition is infinitely more accurate.
Notoriously difficult rhythms, especially at the bridge; to be sure, this interpretation is a bit jagged. However, Monk's great music stands the test of time. Closely related pieces are "Evidence", and "Just You, Just Me". I have a score for "Dinah", in authentic stride, which I will revisit shortly.
New subscriber great video enjoyed watching
Thanks very much for tuning in. I post a lot of technical studies along these lines. More soon! Best, James
Bravo! Bravo! Thanks for sharing.
Many thanks for your kind words, Hwayoung. A friend in Japan sent me these recordings a while back. They may not be available stateside. Research of Kikuchi's music continues. Take care. James
Kikuchi Masabumi's formidable "Hollow Out", on a first take. The restatement of the central theme, at the conclusion, is very close to the mark. The great master has written an extremely complex line. The only relation to the F blues is the underlying tonal centers, which pass by, in an instant. The pantonal tendencies are a logical extension of Andrew Hill's research.
Transcription courtesy Mauricio Matel (Brazil).
The underlying chords -- three of them -- are just a starting point. There's a lot of space between the intervals. Rhythm, as a top-level domain.
Ponto De Cabôclo. 1956.
"What I do may lead you somewhere, but that shouldn't keep you from finding your own sound." ~McCoy Tyner
It's interesting to observe how music has been taught in the United States over the last 40 years. The developing musician is frequently led to believe that notes tend to be related to an underlying chord structure, as if vertical structures were the sole source of melody, and rhythm. The only thing I might advise is to be aware that you're also free to develop your own vertical structures, if you choose to do so.
James Armstrong The chromatic inventions in triplets, around 9:30, and the contrary motion around 12:50, are from Herr Doktor Busoni, whose image is at left.
A probing study in F minor -- wide open space; many harmonic possibilities. Note the recurring diminished, passing chords that are a characteristic of music from this period. Barry Harris specifically references diminished chords, as containers of an entire harmonic envelope. George Russell called them "auxiliary diminished blues", in his Lydian Chromatic Concept. With all due respect to the original copyright holders.