Using a G harp makes sense. I notice that in Hal Leonard's jazz, "The C Real Book", Nardis is written in the key of G. Same notation as in your video. On my diatonic harps, the easiest for me was in 2nd position on a Seydel Solist Pro 12 harmonic-minor-tuned harp. It also works nicely on a C chromatic harp the key of Eb (start on G) 🙂
Thanks for the video! The G harp gave it a bit of flugelhorn-feeling, mellow and nice. I only played this tune on chromatic, will try on diatonic as well. 👍
Beautiful piece - thanks for the rich video. The C harp definitely has more bite in the note - it was a learning moment the way you resolved it with the more aggressive backing track and solo attack. I really liked the sound of the A harp in cross - and the G harp was also great and opens up opportunity to play real jazz in the absence of OBs. The explanation about the scale structures and the Indian tune at the end was wonderful. I wonder if the Indian melody was influenced by traditional instruments played there?
Hi Howard, thank you so much for this beautyful music. I also love to play this middle eastern scale in fourth position. But I never mixed it with the phrygian mode. Thanks for the insperation. One question about that. As Your sound (like always) ist extraordinary beautyful, how do you mix the two scales? Do you use phrygian in the A section, the other in B or do you play them rather intersecting? I would be very grateful for kind of a short hint :)
Are you sure Bill Evans didn't have a bit part to do with it? That's the era when Evans and Davis were putting together Kind of Blue. I have always loved Evans, he played such big full cluster type chords...my understanding is that Evans was a big proponent of the modes and what caused him and Davis to experiment with them. You must have studies Evan's playing...so probably old hat...Chambers was one of my favorite bass players, there was another album, Jazz at the Plaza that was good. I had a vinyl album of "Whims of Chambers".
@@spensert4933 I don't think anyone will know for certain as both Davis and Evans are gone...but Evans was a musical genius, IMO. Not trying to take anything away from Miles, he consistently came up with evolutionary bands, and one of my favorite jazz artists ever. Just that Evans was overlooked because he was in Davis' shadow.
I just took a lesson from one of ravis students. I will find a public email address for you and send the hand written notes and business card of the teacher/ luitheirs name.I bet you know him. Cuz that's how the world works.
My 2 FREE backing tracks: levyland.com/teaching-videos-free-backing-tracks
I'm always amazed by being able to attend a lesson from a master.
So honored.
Hejaz scale is very useful on the tune Caravan as well
Using a G harp makes sense. I notice that in Hal Leonard's jazz, "The C Real Book", Nardis is written in the key of G. Same notation as in your video. On my diatonic harps, the easiest for me was in 2nd position on a Seydel Solist Pro 12 harmonic-minor-tuned harp. It also works nicely on a C chromatic harp the key of Eb (start on G) 🙂
Hejaz Kar: also the 5th mode of the Hungarian minor scale
Thank you for this clip!
I know modal scales, but your point of view is always interesting for me. I can't wait for next videos :) Best greets!
Thank you, Bart!
Wow, thank you for sharing. You also very fittingly dressed in indian style.
THE MAN
Thanks Howard. Great lesson on a Great song. I appreciate the 3 hole draw workout.
I’m glad that you enjoy this one. It’s one of my favorite tunes.
Thanks for the video! The G harp gave it a bit of flugelhorn-feeling, mellow and nice. I only played this tune on chromatic, will try on diatonic as well. 👍
Wow you play both. Cool :)
What do you prefer..
That G harp solo was really perfect!
Lovely
Great... I cannot get through Work Song. I've pretty given up on Take Five. Now I have to try Nardis and Miserlou. :)
Thanks for the insight, Howard.
Excellent Howard!
Beautiful piece - thanks for the rich video. The C harp definitely has more bite in the note - it was a learning moment the way you resolved it with the more aggressive backing track and solo attack. I really liked the sound of the A harp in cross - and the G harp was also great and opens up opportunity to play real jazz in the absence of OBs. The explanation about the scale structures and the Indian tune at the end was wonderful. I wonder if the Indian melody was influenced by traditional instruments played there?
Thanks! And actually, the tune at the end is Greek.
Very nice Howard ....thank you for the lessons
You’re welcome.
You are awesome and amazing. Thanks
Gracias Howard por enseñarnos gratis!!
Thanks for teaching these amazing tutorials! I hope that you would do a lesson on Miles Davis' All Blues.
😊 Maybe I will do one on that tune…
Miles liked to spell names/words backwards as titles. Perhaps "Nardis" is derived from "Sidran"....a reference to jazz pianist Ben Sidran, perhaps...
Larry- Ben interviewed Miles and asked him about that. It’s part of his “Talking Jazz” series. Worth listening to!
@@HowardLevyland well, what did Miles say about that?
th-cam.com/video/T3HpWUJOSGs/w-d-xo.html
@@larryeisenberg1895 The explanation I heard is that it’s a slangish way of saying ”an artist”.
Thanks Howard for demonstrating awesome versatility! I hope that you would do a tutorial on Miles' All Blues.
~NOTES 🎵
Kind of Blue? Maybe sometime in the future. Thanks for tuning in.
So good. Loving the content!!!
Glad you enjoy it!
Grande como siempre, me quito el sombrero con grandes musicos como tu 👀👏👍✌
Hi Howard, thank you so much for this beautyful music. I also love to play this middle eastern scale in fourth position. But I never mixed it with the phrygian mode. Thanks for the insperation. One question about that. As Your sound (like always) ist extraordinary beautyful, how do you mix the two scales? Do you use phrygian in the A section, the other in B or do you play them rather intersecting? I would be very grateful for kind of a short hint :)
love it!
Amazing!
Thank you!
Lovely! Misirlou, the tune that keeps on giving. One of my students shared this video with our class... really well done!
Thank you!
Are you sure Bill Evans didn't have a bit part to do with it? That's the era when Evans and Davis were putting together Kind of Blue. I have always loved Evans, he played such big full cluster type chords...my understanding is that Evans was a big proponent of the modes and what caused him and Davis to experiment with them. You must have studies Evan's playing...so probably old hat...Chambers was one of my favorite bass players, there was another album, Jazz at the Plaza that was good. I had a vinyl album of "Whims of Chambers".
I read somewhere that Bill Evans had something to do with the composition. The chords sound like Bill and maybe melody was Miles?
@@spensert4933 I don't think anyone will know for certain as both Davis and Evans are gone...but Evans was a musical genius, IMO.
Not trying to take anything away from Miles, he consistently came up with evolutionary bands, and one of my favorite jazz artists ever. Just that Evans was overlooked because he was in Davis' shadow.
I just took a lesson from one of ravis students. I will find a public email address for you and send the hand written notes and business card of the teacher/ luitheirs name.I bet you know him. Cuz that's how the world works.