14:55 OMG what great fun and so logical you've made out of playing this. And I'll bet Barry Harris is smiling down on this lesson 😊. Thank you Shan! Swiss Joe
Chaplin wrote the melody but when Parsons and Turner added the lyrics and Nat King Cole sang, they turned a pretty melody into a beautiful song. Chaplin also wrote the music to "Eternally", which was a favourite for music boxes due to its predominant use of short notes, and "My Song", reluctantly recorded by both Petula Clark and Harry Secombe, who thought it was outdated with contrived lyrics, but went on to be by far their biggest hits.
Charlie Chaplin composed the melody for “Smile” for “Modern Times” (1936), one of six Chaplin films selected for preservation by the National Film Registry, with lyrics added in 1954 by John Turner and Geoffrey Parsons. His other well know song was Limelight
Thank you for always great stuff! One question please. If you use the same scale on V as on i, then you *don't* alternate the V-chord (here A7) with it's dominant deminished (which would be B°). That is what you do on all other chords. This is deviating from the system. Is that right and is it the main intention? Maybe for the reason, not do weaken the effect of the main dominant? Or is it a compromise?
There are many ways to move A7 and this is only one of them that makes sense to my ear. In other circumstances it could certainly be one of the others. I don't this it's deviating from the system. It's just another way. Thanks for your kind comment and I wish you well with your playing.
@kaptnkirk2740 It is my understanding that on a dominant chord, the diminished scale would be a minor6 dim scale built on the 5th degree of the dominant chord. So, in the case of the A7 chord, this system would use the Em6 diminished scale, thereby being an Em6 chord combined with a dim7 chord built on the F#. I don't understand where you are getting the B diminished on the A7 chord. Please correct me if i am wrong.
14:55 OMG what great fun and so logical you've made out of playing this. And I'll bet Barry Harris is smiling down on this lesson 😊. Thank you Shan!
Swiss Joe
Barry Harris lives!❤
Amazed and dumbfounded, right up to the end: when I actually smiled :)
Fantastic 👏🏾 👏🏾 Hopefully i can translate this to guitar 🎸
Please do!
Amazing stuff as always.
Thanks sir Shan. I asked for this a long while ago!
Most welcome! I remember you asked for it and was looking for you to tell you. Glad you saw it :)
Amazing, thank you very much, very clear
Very inspiring. Your videos make me want to practice.
Thank you and go for it!
Me too!
excellent :) thx , i will try it !
Great!
Chaplin wrote the melody but when Parsons and Turner added the lyrics and Nat King Cole sang, they turned a pretty melody into a beautiful song. Chaplin also wrote the music to "Eternally", which was a favourite for music boxes due to its predominant use of short notes, and "My Song", reluctantly recorded by both Petula Clark and Harry Secombe, who thought it was outdated with contrived lyrics, but went on to be by far their biggest hits.
Thanks!
It’s it funny how that works!
Really great stuff thank you!
Glad it was helpful! Thanks and I wish you good jazz.
Красавчик!👍🏻
Charlie Chaplin composed the melody for “Smile” for “Modern Times” (1936), one of six Chaplin films selected for preservation by the National Film Registry, with lyrics added in 1954 by John Turner and Geoffrey Parsons. His other well know song was Limelight
Thanks!
Perfect marriage of words & music.
I've heard while it is claimed to have been written by Chaplin, it was actually written by another person.
I did not mind :)
Thank you for always great stuff!
One question please.
If you use the same scale on V as on i, then you *don't* alternate the V-chord (here A7) with it's dominant deminished (which would be B°). That is what you do on all other chords. This is deviating from the system. Is that right and is it the main intention? Maybe for the reason, not do weaken the effect of the main dominant? Or is it a compromise?
There are many ways to move A7 and this is only one of them that makes sense to my ear. In other circumstances it could certainly be one of the others. I don't this it's deviating from the system. It's just another way. Thanks for your kind comment and I wish you well with your playing.
@kaptnkirk2740 It is my understanding that on a dominant chord, the diminished scale would be a minor6 dim scale built on the 5th degree of the dominant chord. So, in the case of the A7 chord, this system would use the Em6 diminished scale, thereby being an Em6 chord combined with a dim7 chord built on the F#. I don't understand where you are getting the B diminished on the A7 chord. Please correct me if i am wrong.
*Promo sm*