Is iReal Pro better than Band in a Box

I'd be interested in any views on this. I suspect that iRP is fast becoming the standard for jazzers which is argument enough to swap over. I'd be interested in how you think functionality differs and what the pros and cons of each are. Having used BiaB for years I am now considering using iRP. We will put files for both in Dropbox for tunes we are working on. Anyone can, of course, edit these for the benefit of all.

Gato Scales

Question: What scale should I play?

Answer: Play what you hear

Question: What if I don’t hear anything?

Answer: Don’t play

PLAYING BY EAR

Many jazz musicians play entirely by ear. When they improvise, they play the notes they ‘hear’ (this means hearing the note in your head before you play it). Musicians who play by ear will still make mistakes - they may ‘hear’ a note but not know what it is and make an incorrect guess.

Hearing notes in your head can be challenging when you play on your own. It is usually much easier with a piano or guitar playing chords. Listening to the sound of each chord helps the improviser to ‘hear’ notes they might want to play - typically these notes will be from the chord (or the voicing of that chord) but a good ‘ear’ player can also imagine notes not actually being played.

The skill of playing by ear is very important for a jazz musician (and perhaps should be for any musician). Developing the ability to listen and make sense of what you hear can take a long time.

PLAYING FROM SCALES

Musicians who play by ear often have little or no knowledge of theory but they happily use all sorts of scales in their improvising. They know the sounds they want but not necessarily what the sound is called. Knowing the sound of a note or a scale is vital for good improvising. The names are not essential but can be of great use when studying the music.

Playing (and singing) scales is an excellent way to develop the ear. It helps improve intonation (playing in tune) and technical fluency on the instrument.

Many jazz musicians use scales in a highly conscious way when they play. Studying the relationships between chords and scales can be very helpful.

Most scales have seven notes, not counting the octave note (occasionally a few less, or a few more). Chords can range from three notes (or even two?) up to seven or eight.

A chord with only three notes (typically a ‘triad’ structure build from root, third and fifth) allows for many different scale possibilities. To make a seven note scale, four additional notes would be needed.

eg C triad C   E   G

C major scale C D E F G A B (C) = C major

C mixolydian C D E F G A Bb (C) = F major

C lydian C D E F# G A B (C) = G major

C lydian dominant C D E F# G A Bb (C) = G melodic minor

C mixolydian b9 b13 C Db E F G Ab Bb (C) = F harmonic minor

C lydian #9 C D# E F# G A B (C) = E harmonic minor

C harmonic major C D E F G Ab B (C) = C harmonic major

C diminished (half whole)    C Db Eb E F# G A Bb (C)= C diminished (half whole) or Db diminished (whole half)

(aka C 8-note dominant)

A chord with four notes (typically root, third, fifth and seventh) would need three extra notes to create a seven note scale.

eg C∆ (C major seven) C   E   G   B

C major scale C D E F G A B (C) = C major

C lydian C D E F# G A B (C) = G major

C lydian #9 C D# E F# G A B (C) = E harmonic minor

C harmonic major C D E F G Ab B (C) = C harmonic major

Chords with five, six or seven notes (chords with ninths, elevenths, thirteenths etc) need little or no extra help to make a scale

eg Dm9 D   F   A   C   E

D dorian D E F G A B C (D) = C major

D aeolian D E F G A Bb C (D) = F major

D dorian #4 D E F G# A B C (D) = A harmonic minor

eg Dm11 D   F   A   C   E   G

D dorian D E F G A B C (D) = C major

D aeolian D E F G A Bb C (D) = F major

eg Dm13 D   F   A   C   E   G   B

D dorian D E F G A B C (D) = C major

eg G13#11 G   B   D   F   A   C#   E

G lydian dominant G A B C# D E F (G) = D melodic minor

Chords are sometimes notated as ‘slash chords’. Information before the slash mark denotes a chord structure, and the note after is a single bass note. Here is an example F∆ #11 / D  (This chord could also be notated as Dm13 - see above). Slash chords typically give most of the information needed to construct a chord (my example above gives all seven notes).

Question: If a chord has less than seven notes how do I find the other notes to make a scale?

Answer: Use your ear (and perhaps a bit of common sense … ) Remember there are usually only one or two possibilities - try them out

Look forward to seeing you on Friday

Cheers Mark

mark@markbassey.com

block V week 4 22-05-15 Las Vegas Tango and Pop Tune #1

In our final session for this block (Block V) we played both Las Vegas Tango and Pop Tune #1  with more extended solos. Recordings of these are now in the Dropbox (along with the recordings Mike made from the previous week). I hope you will have time to listen to these tracks even though they are quite long. Pop Tune #1 has also been chopped up solo by solo. 

Las Vegas Tango  -  Beautiful feeling to this piece, right from the start, lovely relaxed groove from rhythm section and good ensemble sound. Great to hear each soloist stretching out over 4 choruses (and occasionally with a few extra bars as well … ) The longer solos give more opportunity for each player to shape and develop their ideas more fully. The two backing sections (the stabs and then the smooth rising line) help to push the soloist into different areas.

THEME

01 trombone Ash

02 tenor Peter

03 tenor Steve F

04 drums Charlie

05 guitar Mike

06 voice Annie

07 flugel Steve

08 alto Patrick

09 baritone Jim

10 bass Steph

11 guitar Stuart

Pop Tune #1  -  This piece has come a long way in the four sessions and I am delighted to hear how well everyone is negotiating the sequence now. It is apparent to me that you have all spent some time working and/or thinking about this piece. There is still a measure of ‘playing chord by chord’ here (which is a challenge in itself) but many of you are beginning to play more freely and melodically across the sequence (whilst still acknowledging the chords).

THEME

01 baritone Jim

02 tenor Steve F

03 alto Patrick

04 tenor Peter

05 flugel Steve

06 trombone Ash

07 voice Annie

08 guitar Stuart

09 guitar Mike

10 bass Steph

11 drums Charlie

That’s all for now  -  Mark

mark@markbassey.com