On the Gm7 the A on the 2& get’s an accent., and for the rest there is no accents in the Gm7 line. It is worth noting that the descending line actually also makes the 1& a note you can accent, so that option is also often a good way to add an accent. Finally it is also really good to have some solos that you really copy and play along with the record to really get into how the guitarist is phrasing. I transcribed it and will go over where the accents are. F7 B 7 B 7 B F7 Gm7 C7 F7 C7 F7 B 7 B F7 B 7 F7 Am7 D7 9 Gm7 C7 F7 D7 9 Gm7 C7 A o Billie's Bounce o 1 Now's The Time Charlie Parker Charlie Parker. Read this article +get instant access TO 45 YEARSof Modern Drummer issues WITH A DIGITAL SUBSCRIPTION for just I also use Sibelius. When you are working on phrasing I would suggest that you combine all the approaches I discussed in this lesson. Line Up I play a Comins GCS-1 which I like very much, although I have some tuning problems I have to solve. I’ve never registered this capo. develops a vocabulary for use during your own improvisations. This is shown with the circle. I'm very happy with it. I find it to be a combination of interesting and annoying (at times). Used, I bought this new about a year ago. In example 3 I am using the Dm7 G7 progression to demonstrate 4 different ways to have a high note (and therefore an accent) before beat 3. Opt out through the unsubscribe link in any marketing email. It was a bit of an eye-opener, and I learned a lot, especially about the ability to use different cameras and have the image captured. I'm sure Sibelius must do it, though. In presenting these solos, we hope to bring musicians closer to the true genius of "Bird". Analyst? From here it skips up to a D and descends step-wise to Bb. Works like a charm and after 20yrs I’m still on my second tube of the stuff. This means that it is possible to add an accent on the 4&(C) which George does. YMMV. If we take the two heavy beats in the bar, 1 and 3, then there are two types of off-beats we can have: The one before a heavy beat: 2& and 4& and the one after a heavy beat: 1& and 3&. $70 USA shipping included. Boss Bird Disc 1. I'm Always Drunk in San Francisco: McCrae/Wolf, Chord Melody 123 v Chord Melody Assembly Line. Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases. The ascending arpeggios are also used to get accents on the 2& and 4& on the G7alt. Hit 'Esc' to exit chord entry. Recommended by The Wall Street Journal Adaptive Radius Technology. The Sweep of the C major triad comes out on an F#. I transcribed it and will go over where the accents are. These 4 bars are an excerpt from his (really fantastic!) I often wonder what it would've been like in say 1956, and all I... Nice! The difference is where the target notes and the notes where the line changes direction are placed. Sent from my iPhone using Tapatalk. Proper Records (P1281) Recording Date. Billie's Bounce Tab by Charlie Parker with free online tab player. The Problem is probably with the jazz phrasing. Copyright © 2020 Modern Drummer Publications. By submitting, you agree to receive communications (emails & texts) from Modern Drummer. That is the best way for me to improve my lessons and make them fit what you are searching for. If at all possible, the best thing to do is to... For me, The Comins ticked all the boxes I was after, plus I really dig its curves. I have a D'Angelico EX-DC. The 3 different examples below show how you can add an accent on 1& by making that note a local high note. 1945-11-26. I start one thing and suddenly I'm distracted by something else before I ever get good at the 1st thing. Tips for dealing with wrist pain while practicing. In the example below I have written out two examples of jazz lines over a Turnaround in C major. Honest Question: What's the Gibson Tal Farlow's Magic? With a decent computer and if you keep to effects that don't take up much processing power you should be able to monitor back from Reaper without noticeable latency. Thanks for sharing your great recording techniques. I use a Teflon impregnated white grease that is used by model train enthusiasts to grease their tracks. If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: If you want to explore the concepts discussed in this lesson further with some exercises and examles you can check out this lesson in my WebStore: You can also download the PDF of my examples here: If you have any questions, comments or suggestions for topics or how I can make the lessons better then please let me know. In this new series I hope to present my thoughts and pass along some experience and insights on playing jazz. In this video I am going to give you a basic understanding of some of the jazz phrasing that can lift your solos to the next level. Copyright © 2020 - Jazz Guitar Online - All rights reserved - Privacy Policy. Ont the C7 the G on the 1& is a high note which then gets an accent. The first example starts with an accent on the 2&. The Gm7 C7 line at the end of the chorus actually has accents on all off beats in the bar, which is of course possible, in this case it is also part of a blues phrase that somewhat asks for it. Learning from composing and analyzing is only one way of the ways to internalize these things. solo on Billies Bounce. It is followed by a dramatic skip (dramatic in a beautiful way…) and the line is ended with a bop cliche that ends on an D on the 3& that also naturally get’s an accent. Download and print in PDF or MIDI free sheet music for Billie´s Bounce - George Benson Solo Transcription by Benson, George arranged by hugogoncalves for Piano (Solo) I’m getting a better feel for the the flow of the changes as I work with it. I sold my original ES-165 a few years back for something like $1400 or $1500, I think. Feels good, sounds great. This is achieved with an Fmaj7 arpeggio similar the 2nd bar in Example 3.