[TPIN] Good or bad,..here it is

[Jon Trimble]

Man, once again great stuff Bill...:)  Thanks.  Funny, you sound just like 
the sax man I sit next too...)  It's like a free lesson every day.  On the 
bar gig I play, usually we have only a couple of chords to play with.  It is 
fun trying to break/change the intensity with those confines and at the same 
time, it free's me up to do just that.  Thanks again for the valuable 
input..:)

Jon Trimble

----- Original Message ----- 
From: "William Benzon" <bbenzon at mindspring.com>
To: "Jon Trimble" <jontrimble at cox.net>; "TPIN" <tpin at tpin.okcu.edu>
Sent: Monday, November 06, 2006 11:36 AM
Subject: Re: [TPIN] Good or bad,..here it is


> Good work.
>
> Now, in coming out of the bridge to the A section again you can choose to
> make that distinct, or you can minimize the difference. Your choice.
>
> Here's the tricky issue, let's say you're playing 2 or more choruses of an
> AABA tune. That means that you're going to have one or more segments with
> three A sections strung out one after the other: AAA. However, the first 
> of
> those belongs to one chorus and the other two belong to the next chorus.
> You've got to treat them differently, how have to somehow acknowledge that
> boundary between one chorus and the next. Of course, once you can do that
> without thinking you're ready to figure out ways to play through that
> boundary.
>
> This issue is especially challenging on a tune like "So What" where there 
> is
> no chord motion at all, just one scale or tonal area for the A section and
> one for the B section. It's one thing to structure a nice solo when you 
> have
> a strong functional harmony going on and a good bass line. But when those
> are missing, and the tune still has structure, you have to keep your wits
> about you to nail it.
>
> Thus we have a paradox. "So What" looks easy because it's only got two
> chords. You don't have a lot of arpeggios and scales to run. So, it's easy
> to blow on if your goal is to meet the minimal standard, no bad notes. But
> if your goal is to meet a much higher standard, of telling a story, it's
> much harder to do because the tune doesn't force much structure on you. 
> It's
> all on you.
>
> Later,
>
> Bill B
>
>
> on 11/6/06 10:07 AM, Jon Trimble at jontrimble at cox.net wrote:
>
>>
>> This was an excellant observation and I have been doing just that lately.
>> Band leader even commented on how I make more of a difference on the 
>> change.
>> Thanks for the tip....:)
>>
>> Jon Trimble
>>
>>>
>>> Jon,
>>>
>>> I really enjoyed your solos, different each time out, tasty on all 
>>> three.
>>>
>>> My only suggestion is on rhythm. The verse has a Latin feel while the
>>> bridge
>>> is swing. I'd try to differentiate those more clearly. It's particularly
>>> important to mark the difference when you go into the bridge.
>>>
>>> Listen to any number of good players blowing on "A Night in Tunisia,"
>>> including, of course, John Birks Gillespie himself, and check out Lee
>>> Morgan
>>> on "The Gigolo."
>>>
>>> Keep swinging,
>>>
>>> BB
>
>
>
>
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