Monday Music Quote: Stan Getz

"It’s like a language. You learn the alphabet, which are the scales. You learn sentences, which are the chords. And then you talk extemporaneously with the horn. It’s a wonderful thing to speak extemporaneously, which is something I’ve never gotten the hang of. But musically I love to talk just off the top of my head. And that’s what jazz music is all about." -- Stan Getz

Here is some information that is available online and so important to know.
http://en.wikipedia.org/wiki/Jazz_chord

 

Intervals

Each chord is described as a series of intervallic relationships to the root of the chord. This provides an accurate and easily understandable basis for working out these chords in each key.
The terms used to describe intervals are as follows:

• r = root of the chord
• ♭2 = minor second = 1 semitone above root
• 2 = major second = 2 semitones above root
• ♯2 = augmented second = 3 semitones above the root
• ♭3 = minor third = 3 semitones above the root
• 3 = major third = 4 semitones above the root
• 4 = perfect fourth = 5 semitones above the root
• ♯4 = augmented fourth (tritone) = 6 semitones above the root
• ♭5 = diminished fifth (tritone) = 6 semitones above the root
• 5 = perfect fifth = 7 semitones above the root
• ♯5 = augmented fifth = 8 semitones above the root
• ♭6 = minor sixth = 8 semitones above the root
• 6 = major sixth = 9 semitones above the root
• 7 = minor seventh = 10 semitones above the root
• M7 = major seventh = 11 semitones above the root

One of my all time favorite songs that was tops on the charts in 1964, The Girl from Ipanema!

Here is the chord chart. I just love the gentle groove of bossa nova music. How about you?

Fm7
Tall and tan and young and lovely, 
    G7
the girl from Ipanema goes walking 
    Gm7                   F#7                    Fm7   F#7
and when she passes, each one she passes goes...'aaaah.'
Fm7
When she walks, she's like a Samba 
     G7
that swings so cool and sways so gentle,
     Gm7                   F#7                    Fm7
that when she passes, each one she passes goes...'aaaah.'

CHORUS:
F#+7      F#7          C9
Oh, but I watch her so sadly,
F#m7                 D9           
how can I tell her I love her? 
Gm                         Gm7
Yes, I would give my heart gladly...
         Am7                        Dm7-5
But each day, when she walks to the sea, 
    Gm7                          F#
she looks straight ahead, not at me. 
Fm7
Tall, and tan, and young, and lovely, 
    G7
the girl from Ipanema goes walking, 
    Gm7                F#7                    Fm7
and when she passes, I smile..but she doesn't see.
F#7                             Fm7  F#7
No,she doesn't see, she doesn't see.
                 Fm7
She just doesn't see.

Stan Getz Guitar Chord Chart 

Do you have a favorite Stan Getz song?

You'll find an ear training software that is available through Hear and Play, called Pitch. When you have the time, you might want to look into it.

Warmly,





"Jazz washes away the dust of every day life." -- Art Blakey

Monday Music Quote: Bob Mintzer

"In the name of increasing your knowledge of the music and vocabulary, listening is really a must. It would be the equivalent of reading newspapers on a daily basis and reading novels if you want to become a writer... same process I think." 

          Saxophonist, composer/arranger, band leader Bob Mintzer

One of my favorite bass players is John Clayton. 
Here is his recommended recordings for instrumental listening.
Are you familiar with some of these fine songs?


1. Louis Armstrong - Louis Armstrong Meets Oscar Peterson
2.  Count Basie - Long Live the Chief
3. George Benson - White Rabbit, Body Talk,
4. Art Blakely and the Jazz Messengers - Free for All
5. Paul Chambers - Paul Chambers Quintet
6. John Coltrane - Ballads, Blue Train, Giant Steps
7. Miles Davis - Kind of Blue, Workin' with the Miles Davis Quintet
8. Duke Ellington - Live at the Newport Jazz Festival, Back to Back
9. Bill Evans - You Must Believe in Spring
10. Slide Hampton - World of Trombones
11. Johnny Hodges - At Sportpalast
12. JJ Johnson - Proof of Positive, The Eminent JJ Johnson
13. Rob McConnell and The Boss Brass - Play the Jazz Classics
14. Wes Montgomery, Wynton Kelly - Smokin' at the Half-Note
15. Joe Pass - Virtuosos
16. Oscar Peterson - A Royal Wedding Suite
17. Frank Rosolino Fond Memories of...
18. Wayne Shorter - Night Dreamer
19. Frank Wess Orchestra
20. Gerald Wilson - Theme for Monterey

Another cool song by Adele Adkins and Daniel Wilson is Someone Like You. Here are the music chords to play with the time signature 4/4. I like Adele's music. How about you?

Intro
=====

A A/Ab F#m D


Verse 1
=======

  A                A/Ab
I heard that you're settled down
        F#m
That you found a girl
          D
And you're married now

  A              A/Ab
I heard that your dreams came true
         F#m
Guess she gave you things
        D
I didn't give to you

   A                   A/Ab
Old friend why are you so shy
        F#m
It ain't like you to hold back
  D
Or hide from life


Bridge 1
========

  E                          F#m                 D
I hate to turn up out of the blue uninvited but

I couldn't stay away I couldn't fight it
    E
I'd hoped you'd see my face
    F#m                             D           Dmaj7  D
And that you'd be reminded that for me it isn't over


Chorus 1
========

A                E                 F#m D
Never mind, I'll find someone like you
       A               E        F#m D
I wish nothing but the best for you too
      A           E        F#m        D
Don't forget me I beg I re-member you said
             A                 E                     F#m    D
Sometimes it lasts in love but sometimes it hurts in-stead
             A                 E                     F#m   D
Sometimes it lasts in love but sometimes it hurts instead, yeah


Verse 2
=======

A              A/Ab
 You'd know how time flies
    F#m
Only yesterday
       D
was the time of our lives

       A
We were born and raised
    A/Ab
In a summer haze
     F#m                     D
Bound by the surprise of our glory days


Bridge 2
========


  E                          F#m                 D
I hate to turn up out of the blue uninvited but
D
I couldn't stay away I couldn't fight it
    E
I'd hoped you'd see my face
    F#m                             D           Dmaj7  D
And that you'd be reminded that for me it isn't over



Chorus 2
========

A                E                 F#m D
Never mind, I'll find someone like you
       A               E        F#m D
I wish nothing but the best for you too
      A           E        F#m        D
Don't forget me I beg I re-member you said
             A                 E                     F#m    D
Sometimes it lasts in love but sometimes it hurts in-stead, yeah


Break
=====

E
Nothing compares no worries or cares
F#m
Regrets and mistakes their memories make
D
 Who would have known how
       Bm    C#m        D
Bitter-sweet this would taste


Chorus 3
========

A              E                  F#m D
Never mind I’ll find someone like you
       A               E        F#m D
I wish nothing but the best for you too
      A           E        F#m        D
Don't forget me I beg I re-member you said
             A                 E                     F#m    D
Sometimes it lasts in love but sometimes it hurts in-stead



Chorus 4 / Outro
================

A              E                  F#m D
Never mind I’ll find someone like you
       A               E        F#m D
I wish nothing but the best for you too
      A           E        F#m        D
Don't forget me I beg I re-member you said
             A                 E                     F#m    D
Sometimes it lasts in love but sometimes it hurts in-stead
             A                 E                     F#m    D
Sometimes it lasts in love but sometimes it hurts in-stead
             A                 E                     F#m    D
Sometimes it lasts in love but sometimes it hurts instead

Yeah Yeah

This song by Adele is in the Key of A. Wondering how to find the key center? 

Visit, Finding the key to any song 

Warmly, 

 "Jazz washes away the dust of every day life." -- Art Blakey

Monday Music Quote: Lee Evans

Monday Music Quote: Lee Evans

"The word irony is defined on one internet dictionary as, "the use of words to convey a meaning that is the opposite of its literal meaning." Teaching my college class in jazz history about the Swing Era-also known as the Big Band Era-contains a large element of irony, so let me explain wherein the irony lies." -- Lee Evans is professor of music at NYC's Pace University.

I found this very cool article on the Swing Era and wanted to share much of it with you. I hope you find it interesting and useful in your piano studies.

The Role of Improvisation

Improv is considered by jazz experts and by authors of jazz history textbooks to be the sine qua non of jazz, the essential ingredient without which many might question whether the music is even jazz at all. An example to illustrate this point would be the ragtime piano music of the 1890's and early 1900's. Because this was a body of composed rather than improvised music, many consider it to be a precursor of jazz rather than jazz itself.

The same may be said of George Gershwin's 1920's "Rhapsody in Blue" and "Piano Concerto in F," as well as the "Blues" movement from Morton Gould's 1945 ballet score, "Interplay".  All are composed pieces devoid of even one note of improv. Nevertheless all are quite jazzy sounding, as they contain an abundance of musical elements ordinarily associated with the jazz idiom, such as blue notes, syncopated rhythms and offbeat accents, and jazz harmonies. 

The Swing Era, the most popular jazz era of all with the general public during its heyday in the 1930s, featured the least amount of pure improvisation of any period in jazz history. For the most part, at that time the general public couldn't care less about the jazz inventiveness of a big band practitioner's execution of an occasional short improvised jazz solo within the band's written arrangement. Yet most, if not all, jazz history textbooks concentrate their attention on those relatively few bands that featured more than a modest amount of improvisation-including such bands as those led by Duke Ellington, Count Basie, and Benny Goodman...

So, when I say that there's a certain irony in teaching my jazz history students about swing era big band jazz, I'm implying that despite the era's great popularity with the general public, there was not all that much pure jazz being played by those groups in those days; certainly nowhere near the amount of improvisation (both solo and collective) that characterized the playing of the many early small combo Dixieland jazz bands, that existed immediately preceding the swing era, and the fantastically inventive solo improvisations performed by the innovative bebop groups that followed on the heels of the glamorous big band era.

How about you? Are you a fan of Big Band music and the Swing Era? I'd have to say, Duke Ellington is one my my favorites!

 If interested, HearandPlay offers some great Monthly Music Programs

All the best,





"Jazz washes away the dust of every day life." -- Art Blakey

Monday Music Quote: Jars of Clay

Jars of Clay is a Christian rock band from Nashville, Tennessee. They met at Greenville College in Greenville, Illinois.


Jars of Clay consists of Dan Haseltine on vocals, Charlie Lowell on piano and keyboards, Stephen Mason on lead guitars and Matthew Odmark on rhythm guitars. Although the band has no permanent drummer or bassist, Jeremy Lutito and Gabe Ruschival of Disappointed By Candy fill these roles for live concerts. Past tour band members include Aaron Sands, Scott Savage, and Joe Porter. Jake Goss was recently added to the band to play drums for their summer tour. Jars of Clay's style is a blend of alternative rock, folk, acoustic, and R&B.

Monday Music Quote: Jars of Clay

The band's name is derived from the New International Version's translation of 2 Corinthians 4:7:

“

But we have this treasure in jars of clay to show that this all-surpassing power is from God and not from us.

”

In 1995 Liquid was written by Josh Couhle, Miguel DeJesus, Matt Bronleewe, Charlie Lowell and Stephen Mason.

Dm            Bb   Dm                          Bb
Arms nailed down, are you telling me something?

Dm           Bb   Dm                         Bb
Eyes turned out, are you looking for someone?



CHOURUS
Dm-Bb-F-C

Dm                Bb  F  C                       
This is the one thing, the one thing that I know.


Dm              Bb   Dm                   Bb   
Blood-stained brow, are dying for nothing?

Dm            Bb  Dm                Bb
Flesh and blood, is it so elemental?


CHOURUS

Dm              Bb   Dm                        Bb
Blood-stained brow, He wasn't broken for nothing

Dm             Bb  Dm                      Bb
Arms nailed down, He didn't die for nothing.


CHOURUS

http://www.azchords.com 
 

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Here's what I play in the key of Bb. 

Ebm9       Cb2 Cb2Db  Ebm9                          Db2
Arms nailed down, are you telling me something?

Ebm9        Cb2 Cb2Db  Ebm9          Db2  
Eyes turned out, are you looking for someone?



CHOURUS
Ebm Cb Gb Db2


Ebm             Cb  Gb  Db2                       
This is the one thing, the one thing that I know.


Ebm           Cb2 Cb2/Db   Ebm            Db2   
Blood-stained brow, are dying for nothing?

Ebm           Cb2 Cb2/Db  Ebm             Db2
Flesh and blood, is it so elemental?


CHOURUS


CHOURUS

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Are you familiar with the group Jars of Clay and do you have a favorite song?

1. Sinking music chords 

2. Love Song For A Savior Guitar Chords

3. Like a Child 911tabs

4. Art in Me Guitar Tabs

5. He piano chords

6. Boy on a String Chords

7. Flood http://www.ultimate-guitar.com/tabs/jars_of_clay_tabs.htm

8. Worlds Apart http://tabs.ultimate-guitar.com/j/jars_of_clay/worlds_apart_crd.htm

9. Blind http://www.azchords.com

There's a software that I use from HearandPlay that you may be interested in for your own personal use of piano practice called, Song Robot






"Jazz washes away the dust of every day life." -- Art Blakey