dlloyd

[quote name='spiltmilk_2000' post='521722' date='Jun 23 2009, 02:23 PM'][b]Common chord tones[/b] - Is there an easy way of working out / remembering which chords share the same notes? For instance a C6 chord and a Am7 chord have all the same notes (C, E, G, A and A, C, E, G respectively) and i guess it depends on context how you label the resulting chord. Surely there must be a quicker way of remembering / calculating these instances than the mental gymnastics I attempt to figure it out?[/quote] Memorising is a good way to do it. C6 is the first inversion of Am7. When you put a standard chord into its first inversion, you're essentially placing the third at the bottom. This inverts the interval between the root and the third, turning it into a sixth. The inversion between a major interval is always a minor interval and vice versa. So a major 3rd always inverts to a minor 6th and a minor 3rd always inverts to a major 6th. In a m7 chord, the 3rd, 5th and 7th form a major triad built on the 3rd. In a maj7 chord, the 3rd, 5th and 7th form a minor triad built on the 3rd. In a dominant 7 chord, the 3rd, 5th and 7th form a diminished triad built on the 3rd. In a m7b5 chord, the 3rd, 5th and 7th form a minor triad built on the 3rd. See how that works? So (in the key of C), Cmaj7 will become Emb6 Dm7 will become F6 Em7 will become G6 Fmaj7 will become Amb6 G7 will become Bmb5b6 Am7 will become C6 Bm7b5 will become Dm6 (I think that's right)

[quote name='spiltmilk_2000' post='521722' date='Jun 23 2009, 02:23 PM']Hi people, so below are a couple of queries Im hoping someone can explain for me... [b]The neopolitan sixth[/b] - What is it? Ive heard the term a few times and looked it up in a particularly wordy text only to end up even more confused Can anyone explain in idiot proof terms please?[/quote] No doubt Major Minor will correct me on this, but I'll give it a go. It's a major triad built on a note a semitone above the tonic that resolves to the dominant chord. So in C major, you're talking about Db going to G7, the Db chord being the 'Neapolitan sixth'. It has some commonalities with tritone substitution, in that it is usually (always?) associated with the dominant chord and introduces the b5 and b9 of the dominant chord (Db and Ab in a Db major triad). Don't worry too much about the 'sixth' bit. It's not a sixth chord in the sense that we'd normally use it. (prepares to be shot down)

[quote name='rslaing' post='521477' date='Jun 23 2009, 10:04 AM']OK. I'll have a think today and kick something off. How about Key/tonal centres and modes? Any other ideas?[/quote] Are you thinking about a thread that covers general theory? A couple of years ago I posted a thread, really aimed at beginners, as a basic theory primer. It was fairly well received and I was about to start revising it when work matters got in the way. My idea was to use the London College of Music Popular Music Theory syllabus as a basis for introducing topics. [url="http://www.popularmusictheory.org/"]http://www.popularmusictheory.org/[/url]

[quote name='Major-Minor' post='521048' date='Jun 22 2009, 07:28 PM']I hear clarinets every day of my working life and I've never been able to hear any difference between A and Bb although i think i could distinguish an Eb clari but maybe thats because usually the parts he plays are in quite a distinctive high shrill register. When I orchestrate I always use Bb clars mainly due to laziness - can't be bothered to think which is best ! I have had clari players ticking me off about this ![/quote] I find that surprising, but maybe my perception of the difference is more down to my (lack of) skill level than anything else.

[quote name='Major-Minor' post='520934' date='Jun 22 2009, 05:43 PM']You must have incredible ears if you can distinguish between A and Bb clarinets ![/quote] I certainly can when I'm playing them. And you'd certainly be able to tell the difference if you heard me playing flat keys on an A. I'd much rather play concert Eb major on a Bb clarinet (key of F major to me... kid's stuff) than on an A (Gb major... ouch). There's also a tonal difference between them, the A sounding darker than the Bb (all other things being equal, of course). Edit: Although if you were to ask me on listening to an unfamiliar piece whether it had been played on an A or a Bb, I probably couldn't

[quote name='velvetkevorkian' post='520064' date='Jun 21 2009, 05:06 PM']That said, my favourite (or least favourite, I suppose) is the idea of transposing instruments (horns in F, E flat trumpets etc) when we now have a prefectly good trumpet (or horn, or whatever) capable of playing all 12 notes equally well. It just seems totally redundant.[/quote] They don't play all notes equally well. Nor does a Bb clarinet (for example) sound the same as an A clarinet or (God forbid) a C clarinet.

[quote name='steve-soar' post='518702' date='Jun 19 2009, 06:17 PM']Italian renaissance artist.[/quote] Michaelangelo Caravaggio, surely? He was a little later than the renaissance.

My left hand was injured in a shot gun accident. Which sound a lot more dramatic than it was. I was hit by some stray pellets, which grazed a knuckle, removing a very small chunk of flesh. There is a scar... but it's only about 2 mm long!

[quote name='silddx' post='518406' date='Jun 19 2009, 02:16 PM']Stunning!! Won't see any of that at Ealing Jazz festival [/quote] The guy with the pencil moustache is Angelo Debarre. The slightly 'heavier-set' bloke is Birelli Lagrene, who played in Jaco's last touring band and is also a pretty phenomenal bassist. I think Stochello Rosenberg is also in that clip.

[quote name='AdamWoodBass' post='518305' date='Jun 19 2009, 12:48 PM']It really winds me up that most guitarist's still think that the bass is a downgrade from guitar and therefore they can both play it and teach it. Thats like saying I can play trumpet therefore I can play saxophone.[/quote] I'd say it was more like the difference between clarinet and sax. The mechanics are broadly the same, but there's a hell of a lot of adjustment needed between the two.

It's a tricky one, but I'd probably avoid correcting them. What exactly are the issues with the kid's technique? If you were to notice a kid's deficiencies in another subject, would you intervene? Would that be considered professional?

[quote name='silddx' post='518119' date='Jun 19 2009, 09:43 AM']I LOVE the second clip! That's my kind of jazz.[/quote] A bit off-topic as there's no bass on this one, but here's my favourite version of that song...

[quote name='steve-soar' post='517832' date='Jun 18 2009, 08:58 PM']It's not a phenomenom, it's the same as trying to paint an exact replica of a Francis Bacon or David Caravaggio painting. It will never be in you or me to play these parts that were recorded by the originals, like the originals. The closest we might get, is a decent faximile. Sorry. [/quote] David Caravaggio?

[quote name='teej' post='517613' date='Jun 18 2009, 05:28 PM']Might I suggest (somewhat tentatively) that root, third and seventh are better choices than root, third and fifth? As the fifth is mostly the same interval, it's not getting us as near to the full chord as the seventh? Or is there another, better reason for choosing fifth? (I say this because I would use root third seventh if I'm forming a chord). [/quote] Remember that usually we're not the only ones forming the harmony. Guitarists and pianists tend to play the 3rd and 7th (and appropriate extensions and altered notes) for the reasons rslaing mentioned, and will usually provide that part of the harmony. Concentrating mostly on roots, thirds and fifths (on the strong beats) should also prevent the overall harmony from getting too weird by keeping the chord in the root position, 1st and 2nd inversions. But then, I'm no expert.

[quote name='fatgoogle' post='516876' date='Jun 17 2009, 08:55 PM']Hi again. Im still looking for a double bass, and need one sooner then later, as im not sure how long i can borrow my teachers. I suppose more than anything i need something that will last till i can afford something really decent or good. My price range is around 600 euro's plus postage. So ive been looking heavily at stenton. They look really nice,and apart from the horendous shipping arent badly priced. Anyone play one. I asked on TB and theyve just about said that e vrey bass ive looked at is sh*t. Ones from thomann ebay, cremona and palatino. But i really need something that will last and decent projection. Any help from all youse. Thanks Sam H[/quote] I've got a Stentor Conservatoire that I bought from a Bass Chat member and I really like it. It's easy to play and sounds pretty good. Part of that might be the setup though, which you ought to factor in with the price of a set of strings. €600 is what? £500? If I had that budget to get a bass, I'd be looking for a used instrument rather than buying new.

Great post Bilbo! [quote name='bilbo230763' post='516458' date='Jun 17 2009, 02:49 PM']The walking lines also create a counterpoint to the soloist. The magic of a great walking line comes from its relationship with the soloists. A big mistake that people make (and this teacher guy with the ’pentatonics’ quip is clearly a victim of this) is assuming that, as long as it is in the scale/arpeggio of the pertinent chord, it will be ok. WRONG – it will only work if the logic of the line before and after it are congruent with the overall mood of the piece.[/quote] That's pretty much sums up the stage I feel I've got to and need to work on. I can follow the chords as they're laid down in the real book etc., not trip up too much, and do what the books tell me I'm supposed to be doing. But it still feels like I'm 'pretending to walk' rather than actually walking.

[quote name='chilisfan16' post='516423' date='Jun 17 2009, 02:14 PM'][url="http://www.youtube.com/watch?v=OPFwDns7FdI"]http://www.youtube.com/watch?v=OPFwDns7FdI[/url] heres a vid of a guy testing it out. imo, it sounds horrible, and looks horrible. i think the only attraction here is all the pickup configurations which could fit alot of people's tastes.[/quote] I think it sounds pretty good... if you ignore the fizzy recording.

[quote name='silddx' post='516377' date='Jun 17 2009, 01:12 PM']Wow! That's good stuff! This may sound facetious, even stupid or ignorant, but it is a serious question. Can someone kindly tell me what is the [b]purpose [/b]of walking bass lines and what constitutes [b]good taste[/b]. I've been messing around at home and coming up with some things I like, I have no idea why I'm playing them, I just know I like some of what I hear. Gawd knows what a jazzer would say though, because, as rslaing kindly pointed out, I know nothing about jazz. I have been listening to Paul Chambers and Scott Thunes playing walking lines and slow, they sound sensitive and seem to give life to the chords and song structures, fast they sound totally hardcore.[/quote] Walking lines essentially outline the harmony and provide the song's rhythmic pulse. Say you've got a chord progression that goes: |Cm7 | F7 | Bbmaj7 | Ebmaj7 | Am7b5 | D7#9 | Gm | |... (that's the first bit of Autumn Leaves) ...you want to play notes in each bar that outline those chords, while keeping the forward momentum into the next bar. The most useful notes to use to outline the chords are the basic triads... Obvious choices for the Cm7 would be the root, m3 and 5 of the chord (C, Eb, G). Obvious choices for the F7 would be the root, 3 and 5 of the chord (F, A, C) Obvious choices for the Bbmaj7 would be the root, 3, and 5 of the chord (Bb, D, F) Obvious choices for the Ebmaj7 would be the root, 3 and 5 of the chord (Eb, G, Bb) Obvious choices for the Am7b5 would be the root, m3 and b5 of the chord (A, C, Eb) Obvious choices for the D7#9 would be the root, 3 and 5 of the chord (D, F#, A) Obvious choices for the Gm would be the root, m3 and 5 of the chord (G, Bb, D) You can do a lot with just those notes. You often find the root of the chord played on the first beat of the bar, and another chord tone used on the third. You might find another chord tone on the second beat, or it might be a scalar note (if you have the root on one and the third on 3, you might well put the appropriate 2nd on 2) Approach notes are useful to keep momentum when changing chords. There's all sorts of approach notes... dominant, that are a fifth away from the note you're going to; chromatic, which are a semitone away from the note you're going to; and scalar, which stick to in key notes. So, if you're going from Cm7 to F7 to Bbmaj7, you might play: C Eb G Gb | F A C Cb | Bb Where you're playing: r 3 5 (chr) | r 3 5 (chr) | r (chr) = chromatic approach note Simple, huh? The trouble is, although Ray Brown mostly follows those 'rules', just following those rules doesn't get you to sound like Ray Brown. The tendency is to fall back on a few easy note patterns (those chords can come up quick, even at slow tempos!) and you start to sound repetitive... which is easy to ignore for a bit, but not for long. I'm finding that my walking is improving (slowly!) by studying and learning lines like the ones above. I'm learning new ways of dealing with the chords as they're coming up so that my lines are more variable and more convincing. I'm not quite there yet.

The lists I posted before were a bit unwieldy, so here they are consolodated in a more sensible way: [b]A Child Is Born[/b] (Waltz) [i]Milt Hinton[/i] [i]Niels Pedersen[/i] [b]A Foggy Day[/b] (Unusual Form) [i]Niels Pedersen[/i] [b]A Night In Tunisia[/b] (Standard Form AABA) [i]Ron Carter[/i] [b]After You've Gone[/b] (Unusual Form) [i]J Lundgaard[/i] [b]Ain't Misbehaving[/b] (Standard Form AABA) [i]Ray Brown[/i] [b]Airegin[/b] (Unusual Form) [i]A Cullaz[/i] [b]Alice In Wonderland[/b] (Waltz) [i]Eddie Gomez[/i] [i]George Mraz[/i] [b]All Blues[/b] (Blues in G) [i]Niels Pedersen[/i] [b]All By Myself[/b] (Short Dated Form) [i]E Wright[/i] [b]All of Me[/b] (Short Dated Form) [i]Ray Brown (2 versions)[/i] [b]All of You [/b] (Short Dated Form) [i]Paul Chambers[/i] [b]All The Things You Are[/b] (Standard Form With Expansion) [i]Chuck Israels[/i] [i]Mike Moore[/i] [i]Milt Hinton[/i] [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Alone Together[/b] (Unusual Form) [i]Leroy Vinnegar[/i] [i]Ron Carter[/i] [b]Angel Eyes[/b] (Ballad) [i]Ray Brown[/i] [b]Anthropology[/b] (Rhythm Changes) [i]Ron Carter[/i] [b]As Time Goes By[/b] (Ballad) [i]Rufus Reid[/i] [b]Au Privave[/b] (Blues in F) [i]Ray Brown[/i] [i]Sam Jones[/i] [b]Autumn in New York[/b] (Short Dated Form) [i]I Crosby[/i] [b]Autumn Leaves[/b] (Short Dated Form) [i]Niels Pedersen (3 versions)[/i] [i]Ron Carter (2 versions)[/i] [b]Awful Mean[/b] (Blues in F) [i]Paul Chambers[/i] [b]Bags Groove[/b] (Blues in F) [i]Percy Heath[/i] [i]Ray Brown[/i] [b]Bag's Groove[/b] (Blues in G) [i]Ron Carter[/i] [b]Barbizon Blues[/b] (Blues in F) [i]Niels Pedersen[/i] [b]Basin Street Blues[/b] (Short Form A1A2) [i]G. Peacock[/i] [b]Beautiful Love[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Billie's Bounce[/b] (Blues in F) [i]Niels Pedersen[/i] [b]Black Orpheus[/b] (Latin) [i]Ray Brown[/i] [i]Ron Carter[/i] [i]Rufus Reid[/i] [b]Blue Bossa[/b] (Latin) [i]Ray Brown[/i] [b]Blue Brew[/b] (Blues in G) [i]M Ballou[/i] [b]Blue In Green[/b] (Ballad) [i]George Mraz[/i] [i]Mike Richmond[/i] [i]Scott La Faro [/i] [b]Blue Monk[/b] (Blues in Bb) [i]Ray Brown[/i] [b]Blue Rondo A La Turk[/b] (Blues in F) [i]E Wright[/i] [b]Blue Seven [/b] (Blues in Bb) [i]Ron Carter[/i] [b]Blues for Herluf[/b] (Blues in Bb) [i]Niels Pedersen[/i] [b]Blues For Newport (Cm)[/b] (Minor Blues) [i]C Brubeck[/i] [b]Blues for Two[/b] (Blues in C) [i]Ron Carter[/i] [b]Blues in Bb[/b] (Blues in Bb) [i]Leroy Vinnegar[/i] [b]Blues in F[/b] (Blues in F) [i]C Israels[/i] [b]Blues in the Closet[/b] (Blues in G) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Bluesology[/b] (Blues in F) [i]Niels Pedersen[/i] [i]Percy Heath[/i] [b]Body And Soul[/b] (Ballad) [i]Charles Mingus[/i] [i]Charlie Haden[/i] [i]Mike Moore[/i] [i]Niels Pedersen (2 versions)[/i] [i]Sam Jones (2 versions?)[/i] [b]But Not For Me[/b] (Short Dated Form) [i]Niels Pedersen[/i] [i]Percy Heath[/i] [i]Ron Carter[/i] [b]Bye Bye Blackbird[/b] (Short Dated Form) [i]Niels Pedersen[/i] [i]Paul Chambers[/i] [i]Ray Brown (2 versions)[/i] [b]Cake's Blues[/b] (Blues in F) [i]Ray Brown[/i] [b]Caravan[/b] (Double Form) [i]Jesper Lundgaard[/i] [i]Ray Brown[/i] [i]Rufus Reid[/i] [b]C'est Si Bon[/b] (Unusual Form) [i]Niels Pedersen[/i] [b]Close Your Eyes[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]Come Rain Or Come Shine[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Comin' Home (Gm)[/b] (Minor Blues) [i]Dave Holland[/i] [b]Confirmation[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]Corcovado[/b] (Latin) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Cotton Tail[/b] (Rhythm Changes) [i]Mike Moore[/i] [i]Ray Brown[/i] [b]Crazy Rhythm[/b] (Standard Form AABA) [i]J Lundgaard[/i] [b]Cry Me a River[/b] (Ballad) [i]Ray Brown[/i] [b]Days of Wine and Roses[/b] (Short Dated Form) [i]Niels Pedersen (2 versions)[/i] [i]Ray Brown (2 versions)[/i] [i]Steve Davis[/i] [b]Deep[/b] (Blues in Bb) [i]B. Maize[/i] [b]Dejection Blues[/b] (Blues in Bb) [i]Ray Brown[/i] [b]Django[/b] (Unusual Form) [i]Charlie Haden[/i] [i]Niels Pedersen[/i] [i]Percy Heath[/i] [i]Ray Brown[/i] [i]Ron Carter[/i] [i]Ron Carter[/i] [b]Donna Lee[/b] (Short Dated Form) [i]Niels Pedersen (2 versions)[/i] [b]Don't forget the Blues[/b] (Blues in Bb) [i]Ray Brown[/i] [b]Doxy[/b] (Short Form A1A2) [i]Percy Heath[/i] [i]Ron Carter[/i] [b]Dream a Little Dream[/b] (Standard Form AABA) [i]D Johnson[/i] [b]Duff [/b] (Blues in Bb) [i]Red Mitchell[/i] [b]Easy Living[/b] (Standard Form AABA) [i]Ray Brown[/i] [b]E-Blue Eyes[/b] (Blues in F) [i]J Hughart[/i] [b]Emily [/b] (Waltz) [i]Mike Richmond[/i] [i]Ray Brown[/i] [b]Equinox (Gm)[/b] (Minor Blues) [i]Ray Brown[/i] [b]Exactly Like You[/b] (Standard Form AABA) [i]Ray Brown[/i] [i]Spike Heatley[/i] [b]Falling in Love with Love[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Five Pounds Blues[/b] (Blues in F) [i]Niels Pedersen[/i] [b]Fly Me to The Moon[/b] (Short Dated Form) [i]Ray Brown[/i] [b]Friskin' the Frog[/b] (Blues in F) [i]Niels Pedersen[/i] [b]Gentle Rain[/b] (Latin) [i]Niels Pedersen[/i] [b]Georgia On My Mind[/b] (Ballad) [i]D Johnson[/i] [b]Girl From Ipanema[/b] (Latin) [i]B Maize[/i] [b]Gofor[/b] (Blues in Bb) [i]Niels Pedersen[/i] [b]Gone With The Wind[/b] (Short Dated Form) [i]Niels Pedersen[/i] [i]Percy Heath[/i] [b]Goodbye[/b] (Unusual Form) [i]Ray Brown[/i] [b]Haunted Heart[/b] (Unusual Form) [i]G Mraz[/i] [b]Have You Met Miss Jones[/b] (Standard Form AABA) [i]David Friesen[/i] [i]Niels Pedersen[/i] [b]Here's that Rainy Day[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Hi-Fly[/b] (Standard Form AABA) [i]Ray Brown[/i] [i]Ron Carter[/i] [b]Honeysuckle Rose[/b] (Standard Form AABA) [i]Ray Brown[/i] [i]Spike Heatley[/i] [b]How Deep Is the Ocean[/b] (Short Dated Form) [i]Curtis Counce[/i] [i]Spike Heatley[/i] [b]How Insensitive[/b] (Latin) [i]Niels Pedersen[/i] [b]I Can't Get Started[/b] (Standard Form AABA) [i]Curtis Counce[/i] [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]I Can't Give You[/b] (Short Dated Form) [i]Ray Brown[/i] [b]I Fall In Love Too Easily[/b] (Short Form A1A2) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]I Got it Bad[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]I got rhythm[/b] (Rhythm Changes) [i]George Mraz[/i] [i]Slam Stewart[/i] [b]I Hear a Rhapsody[/b] (Standard Form AABA) [i]D Friesen[/i] [b]I Remember Clifford[/b] (Ballad) [i]Mike Richmond[/i] [i]Percy Heath[/i] [i]Ron Carter[/i] [b]I Should Care[/b] (Short Dated Form) [i]E Wright[/i] [b]I Thought About You[/b] (Ballad) [i]Gary Peacock[/i] [i]Ray Brown (2 versions)[/i] [i]Ron Carter[/i] [b]If I Were A Bell[/b] (Short Dated Form) [i]Paul Chambers[/i] [b]If You Could See Me Now[/b] (Ballad) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]I'll Remember April[/b] (Unusual Form) [i]Ray Brown[/i] [i]Ron Carter[/i] [b]In A Mellow Tone[/b] (Short Dated Form) [i]Jay Leonhart[/i] [i]Leroy Vinnegar[/i] [i]Niels Pedersen[/i] [b]In A Sentimental Mood[/b] (Ballad) [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]In Your Own Sweet Way[/b] (Standard Form AABA) [i]Niels Pedersen (3 versions)[/i] [i]Percy Heath[/i] [b]Indiana[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Isn't it Romantic[/b] (Short Dated Form) [i]C Israels[/i] [b]It Could Happen To You[/b] (Short Dated Form) [i]Niels Pedersen[/i] [i]Paul Chambers[/i] [b]It Don't Mean a Thing[/b] (Standard Form AABA) [i]Percy Heath[/i] [b]It's About Time[/b] (Blues in Bb) [i]Ron Carter[/i] [b]Itty Bitty Blues[/b] (Blues in C) [i]Ray Brown[/i] [b]Ja Da[/b] (Short Form A1A2) [i]Ray Brown[/i] [b]Joy Spring[/b] (Short Dated Form) [i]Ron Carter[/i] [b]Just Friends[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Just in Time[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Lady Be Good[/b] (Standard Form AABA) [i]E Jones[/i] [b]Love For Sale[/b] (Double Form) [i]Paul Chambers[/i] [b]Lover Man[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]Lullaby of Birdland[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]Mack the Knife (Bb)[/b] (Short Form A1A2) [i]Niels Pedersen[/i] [i]Ray Brown (2 versions)[/i] [b]Mack the Knife ©[/b] (Short Form A1A2) [i]Christian McBride[/i] [i]Ron Carter (2 versions)[/i] [b]Mean to Me[/b] (Standard Form AABA) [i]Mike Moore[/i] [i]Ron Carter[/i] [b]Minor Swing[/b] (Short Form A1A2) [i]Niels Pedersen[/i] [b]Misty[/b] (Ballad) [i]Eddie Gomez[/i] [i]Milt Hinton[/i] [i]Niels Pedersen (2 versions)[/i] [i]Ray Brown[/i] [b]Moanin'[/b] (Standard Form AABA) [i]Ray Brown[/i] [i]Sam Jones[/i] [b]Mona Lisa[/b] (Ballad) [i]Gary Peacock[/i] [i]Ray Brown[/i] [b]Mood Indigo[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]Moonlight In Vermont[/b] (Unusual Form) [i]B Maize[/i] [b]Moose the Mooche[/b] (Rhythm Changes) [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]Mr PC (Cm)[/b] (Minor Blues) [i]George Mraz[/i] [i]Paul Chambers[/i] [b]My Foolish Heart[/b] (Ballad) [i]George Mraz[/i] [i]Ray Brown[/i] [i]Ron Carter[/i] [b]My Funny Valentine[/b] (Standard Form With Expansion) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]My Melancholy Baby[/b] (Short Dated Form) [i]E Wright[/i] [b]My One And Only Love[/b] (Ballad) [i]Ray Brown[/i] [b]My Romance[/b] (Short Dated Form) [i]Niels Pedersen[/i] [i]Ray Brown (3 versions)[/i] [i]Ron Carter[/i] [b]My Shining Hour[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Night And Day[/b] (Unusual Form) [i]Niels Pedersen[/i] [b]Now's the Time[/b] (Blues in F) [i]Ron Carter[/i] [b]Nuages[/b] (Short Dated Form) [i]Dominique Di Piazza [/i] [i]Niels Pedersen[/i] [b]Oleo[/b] (Rhythm Changes) [i]Niels Pedersen[/i] [i]Paul Chambers[/i] [i]Percy Heath[/i] [b]On Green Dolphin Street[/b] (Short Dated Form) [i]Niels Pedersen (2 versions)[/i] [i]Ray Brown[/i] [b]On the Sunny Side[/b] (Standard Form AABA) [i]Leroy Vinnegar[/i] [i]Mike Moore[/i] [i]Ray Brown[/i] [i]Ron Carter[/i] [b]Once I Loved[/b] (Latin) [i]Ray Brown[/i] [b]Ornithology[/b] (Short Dated Form) [i]Niels Pedersen (3 versions)[/i] [i]Red Mitchell[/i] [i]Ron Carter[/i] [b]Our Love is Here to Stay[/b] (Short Dated Form) [i]Chuck Israels[/i] [i]Niels Pedersen[/i] [b]Out of Nowhere[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]Payin Them Berlin Dues Blues[/b] (Blues in F) [i]D Friesen[/i] [b]Perdido[/b] (Standard Form AABA) [i]Niels Pedersen (2 versions)[/i] [i]Ron Carter[/i] [b]Polka Dots [/b] (Ballad) [i]Percy Heath[/i] [i]Ray Brown (2 versions)[/i] [b]Prelude to a Kiss[/b] (Ballad) [i]Milt Hinton[/i] [i]Ron Carter[/i] [b]Railroad Crossing[/b] (Blues in Bb) [i]Ron Carter[/i] [b]RB![/b] (Blues in F) [i]Ray Brown[/i] [b]Red Cross[/b] (Rhythm Changes) [i]Niels Pedersen[/i] [b]Reunion Blues[/b] (Blues in F) [i]Ray Brown[/i] [b]Robbins Nest[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]'Round Midnight[/b] (Ballad) [i]Chuck Israels[/i] [i]Paul Chambers (2 versions)[/i] [i]Percy Heath[/i] [i]Ron Carter[/i] [i]Steve Davis[/i] [i]Walter Booker[/i] [b]Samba De Orfeu[/b] (Latin) [i]Ray Brown[/i] [b]Sandu[/b] (Blues in C) [i]Sam Jones[/i] [b]Satin Doll[/b] (Standard Form AABA) [i]Ron Carter[/i] [i]Ron Carter[/i] [i]Steve Davis[/i] [b]Scrapple From the Apple[/b] (Standard Form AABA) [i]Ray Brown (2 versions)[/i] [i]Ron Carter[/i] [b]Secret Love[/b] (Short Dated Form) [i]I Crosby[/i] [b]Sho' Nuff Did[/b] (Blues in F) [i]Ron Carter[/i] [b]Smile[/b] (Short Form A1A2) [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]So What[/b] (Modal) [i]Niels Pedersen[/i] [i]Paul Chambers[/i] [i]Ron Carter[/i] [b]Softly[/b] (Standard Form AABA) [i]David Friesen[/i] [i]Niels Pedersen[/i] [i]Reggie Workman[/i] [i]Ron Carter (2 versions)[/i] [b]Solitude[/b] (Ballad) [i]Jim Hughart[/i] [i]Ray Brown[/i] [i]Spike Heatley[/i] [b]Someday My Prince Will Come[/b] (Waltz) [i]Buster Williams[/i] [i]Eddie Gomez[/i] [i]John Pattituci[/i] [i]Niels Pedersen[/i] [i]Niels Pedersen[/i] [i]Ray Brown[/i] [i]Ron Carter[/i] [i]Scott La Faro [/i] [b]Sophisticated Lady[/b] (Standard Form AABA) [i]Ray Brown[/i] [b]Speak Low[/b] (Unusual Form) [i]Bob Magnusson[/i] [i]Dave Holland[/i] [i]Niels Pedersen[/i] [b]Squeeze Me[/b] (Standard Form AABA) [i]David Friesen[/i] [i]Jesper Lundgaard[/i] [i]Niels Pedersen[/i] [b]St Louis Blues[/b] (Blues in G) [i]Ray Brown[/i] [b]St Thomas[/b] (Latin) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Stairway to the Stars[/b] (Ballad) [i]Ray Brown[/i] [b]Stardust[/b] (Ballad) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Stars Fell on Alabama[/b] (Standard Form AABA) [i]Ray Brown[/i] [b]Stella By Starlight[/b] (Short Dated Form) [i]Chuck Israels[/i] [i]Eddie Gomez[/i] [i]Niels Pedersen (2 versions)[/i] [i]Paul chambers[/i] [i]Ray Brown (2 versions)[/i] [b]Stompin' At the Savoy[/b] (Standard Form AABA) [i]Moore-Reid [/i] [b]Stormy Weather[/b] (Ballad) [i]Niels Pedersen[/i] [b]Straight No Chaser[/b] (Blues in F) [i]G Peacock[/i] [b]Summer Night[/b] (Short Dated Form) [i]Jim Hughart[/i] [i]Ron Carter (2 versions)[/i] [b]Summertime[/b] (Short Form A1A2) [i]Niels Pedersen (2 versions)[/i] [i]Ray Brown (2 versions)[/i] [b]Sunday[/b] (Standard Form AABA) [i]Leroy Vinnegar[/i] [i]Niels Pedersen[/i] [b]Swedish Pastry [/b] (Blues in Bb) [i]C Israels[/i] [b]Sweet Georgia Brown[/b] (Short Dated Form) [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]Sweet Lorraine[/b] (Standard Form AABA) [i]Jesper Lundgaard[/i] [i]Ron Carter[/i] [b]Take a Walk[/b] (Blues in F) [i]E Gomez[/i] [b]Take the A Train[/b] (Standard Form AABA) [i]Jay Leonhart[/i] [i]Niels Pedersen[/i] [i]Ray Brown[/i] [i]Ron Carter[/i] [i]Ron Carter[/i] [b]Taking a Chance[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]Tea For Two [/b] (Short Dated Form) [i]J Lundgaard[/i] [b]Teach Me Tonight[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]Tenderly[/b] (Short Dated Form) [i]Bob Maize[/i] [i]Eddie Gomez[/i] [b]That's All[/b] (Ballad) [i]Niels Pedersen[/i] [i]Ray Brown[/i] [b]The Boy Next Door[/b] (Waltz) [i]Chuck Israels[/i] [b]The Duke[/b] (Standard Form AABA) [i]Alby Cullaz[/i] [i]Eugene Wright[/i] [b]The Jeep is Jumpin[/b] (Rhythm Changes) [i]S Heatley[/i] [b]The Man I Love[/b] (Ballad) [i]Percy Heath (2 versions)[/i] [b]The Preacher[/b] (Short Form A1A2) [i]B Maize[/i] [b]The Puzzle[/b] (Blues in Bb) [i]Niels Pedersen[/i] [b]The Real Blues[/b] (Blues in F) [i]Ray Brown[/i] [b]The Shadow of Your Smile[/b] (Short Dated Form) [i]George Mraz[/i] [i]Niels Pedersen[/i] [i]Ron Carter[/i] [i]Sam Jones[/i] [b]The Smudge[/b] (Blues in C) [i]Ray Brown[/i] [b]The Song Is You[/b] (Double Form) [i]Niels Pedersen[/i] [b]The Theme[/b] (Rhythm Changes) [i]Niels Pedersen[/i] [b]There is no greater Love[/b] (Standard Form AABA) [i]David Friesen[/i] [i]Niels Pedersen (2 versions)[/i] [i]Paul Chambers[/i] [i]Ray Brown (3 versions)[/i] [b]There Will Never Be[/b] (Short Dated Form) [i]Mike Moore[/i] [i]Oscar Pettiford (2 versions)[/i] [b]These Foolish Things[/b] (Standard Form AABA) [i]Ray Brown[/i] [b]This Is All I Ask[/b] (Ballad) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Thriving From a Riff[/b] (Rhythm Changes) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]Tune Up[/b] (Short Form A1A2) [i]Ray Brown[/i] [b]Undecided[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [b]United Blues[/b] (Blues in F) [i]Ron Carter[/i] [b]Untitled[/b] (Blues in F) [i]A Bell[/i] [b]Walkin'[/b] (Blues in F) [i]Leroy Vinnegar[/i] [b]Wave[/b] (Latin) [i]Niels Pedersen (2 versions[/i] [i]Ron Carter[/i] [b]Wee Dot[/b] (Blues in Bb) [i]Niels Pedersen[/i] [b]What Am I Here For[/b] (Short Dated Form) [i]Niels Pedersen[/i] [b]What Is this Thing Called Love[/b] (Standard Form AABA) [i]Leroy Vinnegar[/i] [b]What's New[/b] (Ballad) [i]Niels Pedersen[/i] [i]Paul Chambers[/i] [i]Ron Carter[/i] [b]When I Fall In Love[/b] (Ballad) [i]Paul Chambers[/i] [i]Scott La Faro [/i] [b]When Or Where[/b] (Unusual Form) [i]Red Mitchell[/i] [b]Whims of Chambers[/b] (Blues in F) [i]Paul Chambers[/i] [b]Who's got rhythm?[/b] (Rhythm Changes) [i]Leroy Vinnegar[/i] [b]Willow Weep For Me[/b] (Standard Form AABA) [i]Milt Hinton[/i] [i]Ray Brown[/i] [b]Windflower (Em)[/b] (Minor Blues) [i]Ron Carter[/i] [b]With Respect[/b] (Rhythm Changes) [i]Niels Pedersen[/i] [b]Woody 'n' You[/b] (Standard Form AABA) [i]Ray Brown[/i] [b]Yardbird Suite[/b] (Standard Form AABA) [i]Niels Pedersen (2 versions)[/i] [b]You And the Night.[/b] (Standard Form AABA) [i]Niels Pedersen[/i] [i]Ron Carter[/i] [b]You Don't Know What Love Is[/b] (Ballad) [i]Charlie Haden[/i] [i]Leroy Vinnegar[/i] [i]Niels Pedersen[/i] [b]You Go To My Head[/b] (Ballad) [i]B Magnusson[/i] [b]You'd Be So Nice[/b] (Short Dated Form) [i]Paul Chambers[/i] [i]Ron Carter[/i]

Is it possible to use tables in a post?

[quote name='lowdown' post='515701' date='Jun 16 2009, 08:26 PM']Ok... I will get those from the list up first. [ will take some though ] [/quote] I think they'd serve better as a list from which requests could be made (?) [quote]Three versions of 'So What' up above .[/quote] I could have done with that a few years ago...

[quote name='lowdown' post='515629' date='Jun 16 2009, 07:17 PM'][attachment=27201:Blue_Mon...ay_Brown.pdf] If i get time towards the end of the week i might start a new thread with some of the stuff from the link you provided. That will keep it all neat and tidy. Garry[/quote] Good idea... I'll expand on what I did with the AABA bit and create a complete index for the transcriptions. As they are, they're not the easiest to navigate.

[quote name='lowdown' post='515531' date='Jun 16 2009, 05:53 PM']It might be worth putting some up as PDF files, for those without Finale. I have Finale 2009, so i can convert. Any requests ? [b] Edit,[/b] it converts ok. Here is a Ray Brown line for Au Privave [ Just a Jazz blues ] [attachment=27173:Au_Privave.pdf] Garry[/quote] Nice one! Ray Brown's line from Blue Monk is also good (Blues, Bb)