Miles's tunes are great to jam to because the tempos accommodate every level of proficiency and allow us to play with the harmonies where we can away with a lot.
Except for the 1,000 songs where Miles was playing fast as hell!! 😂 He was a fully rounded players who played killer tempos with the best of them. Of course, he's known for his great ballad playing too. A great example here for sure. That said, the HARMONIES here are very tricky. Friendly tempo, really advanced harmonies. The trick is to find songs that we can approach in all these ways. So many teachers and students set out on dead end journeys for these reasons and more. You know, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Thanks so much Ryan. Actually, this Friday the Guided Listening is on "Flamenco Sketches" from the same album. Certainly the most "modal" of the modal songs on the recording, and the most mysterious for many reasons. Tune in for it, noon EST on March 15, 2024.
I never got to learn jazz in high school and in college i was mostly ignored because i was so far behind. This kind of video/guided listening is something I've always wanted.
Started Trumpet in third grade, and by high school, I was lucky enough to have a jazz band teacher that was deep into beebop. Wish my teacher was as cool and concise as you. Question for all, including Jeff: When Coltrain starts his solo, around the 5th ish measure, he’s glomming onto that shred of major key that seems to give that glimmer of hope to an otherwise rainy Monday morning after losing your job, wife, cat the Friday before,,, Or am I just reading way too much into it? Thanks for the beautiful and thoughtful dissection of my favorite song, period.
I love the way you are hearing this, and finding some emotional meaning in it. The answer is "who knows"? I don't hear it that way, but that means nothing!! Hey, please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Miles was a magician for sure. He would take a lot of maybe undue credit for things his side guys (Bill and many more) came up with, but at the end of the day, it was MILES who assembled it all, make it happen.
As everyone is saying…great insight into a tune many of have played and never knew what you shared. Wonder if pro-bands make any of those particular time adjustments (beyond double time) on the bandstand. Great stuff! Thanks.
And now you know!! I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Jeff. Another great analysis. And you’re right that it’s easy to get lost because of the lack of traditional clues as to where you are. Thanks. One thing I notice about the melody is that they hold the leading tone and then play the home note for a moment and on to holding the next leading tone. Comment?
Jeff. I have 2 written sources I’m using ( plus my ear 😮): lead sheets from an Aebersold play along book and a Hal Leonard transcription. The concert lead sheet indicates A minor. The transcription indicates D minor. Both may be true. The first 3 measures feel like they’re heading toward D minor. Measures 5-7 also feel like they’re heading toward D minor. But measures 7-9 feel like they’re heading toward A minor. (There’s an implied ii V I in each sequence). The first note that Davis plays is a held concert E, which feels like it’s leading to the D (the fifth of G minor - the chord indicated on the lead sheet); particularly when considering the pick up in the 10th measure is a C sharp that could be starting an enclosure. This occurs again in measures 8 and 9 where a concert B is held which feels like it’s leading to the A of the A minor chord indicated on the lead sheet - Miles just briefly plays that A. Plus there is a G sharp indicated on the 4th beat of measure 8 which also could be the beginning of an enclosure. I’m totally aware that you may consider this thinking way off base or amateurish but I welcome your comments. Mark
@@mvm1995 Really, the tune is in Dm, although it ends up in Bbmajor and Am as well. You know, THESE are the conversations we have in www.JazzWire.net, and then we PLAY a lot. Talking is great, but putting the words into sound is where the rubber hits the road. I hope I'll see you there!
Gm is the key, Green, and Db is the Blue Note in Gm Blues. It's one chord in the whole song that Bill Evans is sneaking in via his advanced musical theories. To this day, nobody is f'n with B'ilns when it comes to knockin teeth. Oscar is probably the only person worth mentioning in trios (sorry to you know whos). i shouldn't even be on here talkin greasy. i love Barry Harris. why did he have so much smoke for B'11? why did Bill say that Miles Davis gave him $25 for the chords? ppl make up things -- magic bullets.. wikipedia is like "Blue in Green = Songs in D minor"
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Wow! Hi from Paraguay. Esto es genial! haz más por favor.
Sir! You make jazz palatable for a casual jazz listener like myself. This was an absolute pleasure to listen through with your guidance.
As long as I have listened to this tune, I just learned something new. Never figured out the quadruple time. Ha.
Miles's tunes are great to jam to because the tempos accommodate every level of proficiency and allow us to play with the harmonies where we can away with a lot.
Except for the 1,000 songs where Miles was playing fast as hell!! 😂 He was a fully rounded players who played killer tempos with the best of them. Of course, he's known for his great ballad playing too. A great example here for sure. That said, the HARMONIES here are very tricky. Friendly tempo, really advanced harmonies. The trick is to find songs that we can approach in all these ways. So many teachers and students set out on dead end journeys for these reasons and more.
You know, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Fantastic commentary, worthy of the song itself.
Thanks so much Ryan. Actually, this Friday the Guided Listening is on "Flamenco Sketches" from the same album. Certainly the most "modal" of the modal songs on the recording, and the most mysterious for many reasons. Tune in for it, noon EST on March 15, 2024.
I never got to learn jazz in high school and in college i was mostly ignored because i was so far behind. This kind of video/guided listening is something I've always wanted.
Started Trumpet in third grade, and by high school, I was lucky enough to have a jazz band teacher that was deep into beebop. Wish my teacher was as cool and concise as you. Question for all, including Jeff:
When Coltrain starts his solo, around the 5th ish measure, he’s glomming onto that shred of major key that seems to give that glimmer of hope to an otherwise rainy Monday morning after losing your job, wife, cat the Friday before,,,
Or am I just reading way too much into it?
Thanks for the beautiful and thoughtful dissection of my favorite song, period.
I love the way you are hearing this, and finding some emotional meaning in it. The answer is "who knows"? I don't hear it that way, but that means nothing!!
Hey, please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
If you hadn't pointed it out I would have never guessed that it went into double & quadruple time because the feel never changes.
Yup! The feel is what we relate to, not as much the speed of the changes going by. Fascinating!
@@JeffAntoniukEducatorCobb (edit Chambers) goes to double feel time in Bill Evan’s 2nd solo.
Really cool. I had never noticed the double/quadruple time shift until you explained it. Thanks!
So glad you enjoyed it John Mark. Very cool, right?
Comforting, peaceful and ethereal.
Brilliant. Thank you for expanding my mind and ears today!
So happy that you enjoyed this Tim. Please subscribe to the channel if you haven't yet. MUCH more good stuff coming.
Brilliant Jeff. Soooo much to learn.....
Many thanks Jeff For the analysis.
Great Song, Great album and Miles was genius
Wow - very cool, Jeff. The whole album is perfection 🫶
Interesting concept...I guess Miles was always experimenting with new ideas. Thanks again!
Miles was a magician for sure. He would take a lot of maybe undue credit for things his side guys (Bill and many more) came up with, but at the end of the day, it was MILES who assembled it all, make it happen.
@@JeffAntoniukEducator Yeah Bill Evans was a genius himself
As everyone is saying…great insight into a tune many of have played and never knew what you shared. Wonder if pro-bands make any of those particular time adjustments (beyond double time) on the bandstand. Great stuff! Thanks.
Very clear explication...tqvm.
Well, Jeff I learned something new today, Thank you sir
Thanks for tuning in Roger. Please subscribe if you haven't already - much more good stuff coming!
thats what I could never play a[long with this tune and bee in key lol
And now you know!! I'm so happy that you are enjoying these videos. Please subscribe if you haven't yet. There is MUCH more good stuff coming. And hey, if you haven't already, please jump in to a Free 30 Day Limited access to JazzWire. I would love to work together with you in a more meaningful (and not too expensive) way. With the Free 30 Day Trial, you’ll see what we're doing behind the wall! You'll be inside in about 20 seconds, no credit card required. www.jazzwire.net/free-trial/. These videos are great, but they are a SHADOW compared to the real work and we can do together!
Jeff. Another great analysis. And you’re right that it’s easy to get lost because of the lack of traditional clues as to where you are. Thanks.
One thing I notice about the melody is that they hold the leading tone and then play the home note for a moment and on to holding the next leading tone. Comment?
Which note are you hearing at the Leading Note? Frankly, I'm not 100% sure what key this thing is even IN!?
Jeff. I have 2 written sources I’m using ( plus my ear 😮): lead sheets from an Aebersold play along book and a Hal Leonard transcription. The concert lead sheet indicates A minor. The transcription indicates D minor. Both may be true. The first 3 measures feel like they’re heading toward D minor. Measures 5-7 also feel like they’re heading toward D minor. But measures 7-9 feel like they’re heading toward A minor. (There’s an implied ii V I in each sequence).
The first note that Davis plays is a held concert E, which feels like it’s leading to the D (the fifth of G minor - the chord indicated on the lead sheet); particularly when considering the pick up in the 10th measure is a C sharp that could be starting an enclosure.
This occurs again in measures 8 and 9 where a concert B is held which feels like it’s leading to the A of the A minor chord indicated on the lead sheet - Miles just briefly plays that A. Plus there is a G sharp indicated on the 4th beat of measure 8 which also could be the beginning of an enclosure.
I’m totally aware that you may consider this thinking way off base or amateurish but I welcome your comments.
Mark
@@mvm1995 Really, the tune is in Dm, although it ends up in Bbmajor and Am as well. You know, THESE are the conversations we have in www.JazzWire.net, and then we PLAY a lot. Talking is great, but putting the words into sound is where the rubber hits the road. I hope I'll see you there!
Amazing insight…
So glad you enjoyed it! Please subscribe if you haven't yet, and I hope you'll join us at www.JazzWire.net. LOTS more going on over there!
Gm is the key, Green, and Db is the Blue Note in Gm Blues. It's one chord in the whole song that Bill Evans is sneaking in via his advanced musical theories. To this day, nobody is f'n with B'ilns when it comes to knockin teeth. Oscar is probably the only person worth mentioning in trios (sorry to you know whos). i shouldn't even be on here talkin greasy. i love Barry Harris. why did he have so much smoke for B'11? why did Bill say that Miles Davis gave him $25 for the chords? ppl make up things -- magic bullets.. wikipedia is like "Blue in Green = Songs in D minor"
Berlioz? I’ll have to reevaluate his music.