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Practical Jazz Workshop #3 - Out Of Nowhere

Discussion in 'Sidewinders Bar & Grille' started by dogletnoir, Jun 2, 2018.

  1. dogletnoir

    dogletnoir Most Honored Senior Member

    Nov 1, 2013
    northeastern usa
    Welcome to PJW #3, friends and fans!
    For those that haven't been following along so far, i'd like to mention the guidelines for participation
    in these month-long workshops.
    First and foremost, they are open to anyone (at any level) with a sincere interest in learning to play
    over the varied chord progressions we jazz people (LOL) like to refer to as 'changes'.
    It's ok to make mistakes, it's ok to struggle; you will probably advance more as
    a player by participating, i.e. working on the tune and posting takes, than by just
    reading along, although you may certainly learn a few things that way also.
    It's primarily a Practical Jazz Workshop, though, so... it's all about doing the work.

    In the initial stages of these Workshop threads, the music will be selected by the
    moderator team, who will also provide charts/lead sheets and study/reference material
    as they see fit, as well as some feedback on performances which they feel will be helpful
    to participants.
    They will be working to a rotation system that allows time for preparation,
    and avoids last-minute debate over what composition should be chosen next.

    When you post your recorded versions please keep your take within the Jazz tradition,
    bookending your track with the written melody at the head and the tail end of your take,
    and making the fullest use of the chord changes in your improvisation section.
    Participants are encouraged to practice the number as much as their time allows
    before recording, but please make any submissions a genuine, ‘bandstand style’ take,
    without edits or overdubs.


    Constructive critiques of the other submissions will be allowed, but please be mindful
    of other people’s feelings.
    Pointing a way forward will certainly be more helpful than simply mentioning things
    that you felt were 'wrong' with a take.
    Let’s keep Practical Jazz Workshop a happy, safe environment where everyone can
    learn from each other.
    And so, to work!

    Penned by Edward Heyman and Johnny Green way back in 1931, Out Of Nowhere is a tune
    that can work in a broad range of tempos.
    For melodic reference, here's Ella Fitzgerald doing it slow, but swinging:

    The form is binary once again; like last month's selection, there is no bridge,
    just A - B1 - A - B2
    This is the lead sheet from the original Real Book (TYVM, @fezz parka!) :
    Screenshot 2018-06-01 21.34.54.png
    The first 8 measures is the A section, the next 8 is B1, then repeat the first 8 measures
    before jumping straight to the part marked '2.', which is B2.

    In tribute to the great Django Reinhardt, i think i'll have you play to this backing track,
    at least for starters:

    Just simple guitar and bass backing at 130 BPM, but swinging at medium and slower tempos
    is an art form in and of itself.
    Placing the melody correctly in this context may be a bit of a 'challenge' even before you begin
    work on the solos, so i strongly suggest spending the first week just working on the chords and
    the melody, possibly eventually adding some fills over the long held notes.
    soundcloud downloadable:


    For a bit of inspiration, here's a wonderful duo version with Django and Stephane Grappelli:

    And the classic with Django, Benny Carter on trumpet and Coleman Hawkins on tenor saxophone:


    Hopefully this will help to point you in the right direction at the beginning...
    work hard, but remember it's also supposed to be fun. :)

    (Oh, and in case you hadn't figured it out, the chord in the penultimate measure of the
    lead sheet should be G Maj 7... that would be the ending chord; the ii V7 in the last measure
    would be the turnaround back to the start of the next chorus, otherwise hold G Maj 7 for another bar to end)
     
    Last edited: Jun 3, 2018

  2. Omar

    Omar Most Inquisitive Junior Member Strat-Talk Supporter

    Aug 9, 2017
    Marbella, Spain
    It’s truly Out Of Nowhere :confused: I’m cracking my fingers.

    Sorry for the first off-topic comment. :D
     

  3. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    Ok...for the fun of it...who wants to map the progression w/ turnaround in Roman Numerals? If you showed up at a gig, and there were no charts or RB sheets, this is how it would be communicated to you: the changes in Roman Numerals.

    I'll start you off.
    G major scale
    GABCDEF#
    1234567

    The I....Gmaj7.

    Go. :)
     
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  4. Omar

    Omar Most Inquisitive Junior Member Strat-Talk Supporter

    Aug 9, 2017
    Marbella, Spain
    Bb7 is iii
    Eb7 is vi
    But neither is minor nor within G major scale.

    A7 is ii but not minor
    D7 is V on spot :D

    Hold on..what’s the hyphen between note and 7?
     
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  5. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    There's some borrowing going on . But from where? ;)
     
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  6. Omar

    Omar Most Inquisitive Junior Member Strat-Talk Supporter

    Aug 9, 2017
    Marbella, Spain
    Bb major?
     

  7. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    What's the relative minor to Bb major?

    Think about the turnaround in Cold Duck Time. It was borrowed from where?
     
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  8. dogletnoir

    dogletnoir Most Honored Senior Member

    Nov 1, 2013
    northeastern usa
    That hyphen is shorthand for 'minor', so A-7 = A minor 7.
     
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  9. heltershelton

    heltershelton ASKED TO LEAVE THE STAGE Strat-Talk Supporter

    Jun 5, 2013
    Not Florida
    this is what always screwed me up trying to place a jazz song like this in a single key. this song changes keys technically. im not going to think about it too much or it will piss me off and i wont want to try to play it.
    i think it may be best to just learn it and be able to play it, then worry about analyzing the hell out of it later. there is more than one way to explain the theory behind it.
     

  10. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    Yes. Go to the music and play it. Extrapolate the theory after.

    But...it's a workshop. The chart shows one sharp. So G major ( or E minor, but it ain't E minor LOL)
    The Bbm7is a biii.
    The Eb7 is a bVI7.
    They're borrowed from the parallel minor. G-A-Bb-C-D-Eb-F

    :)
     
    Last edited: Jun 2, 2018
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  11. heltershelton

    heltershelton ASKED TO LEAVE THE STAGE Strat-Talk Supporter

    Jun 5, 2013
    Not Florida
    and on the youtube thing it doesnt go to Bb in the third measure or to B in the seventh. so do we play the Bb and B or just Eb and E?




    answer...."hell, just throw anything you want in there.....or dont! we dont care!!!!!its jazz".:p
     
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  12. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    I'm gonna follow the backer. FWIW, I've never played this tune before. But its all familiar because of the work I've done up until now. :)
     
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  13. heltershelton

    heltershelton ASKED TO LEAVE THE STAGE Strat-Talk Supporter

    Jun 5, 2013
    Not Florida
    ive never heard it in my life. till tonight. i have a pjw list on my youtube channel....gotta go add this song to it now.
     
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  14. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    I love the Sinatra version, but I'm a big fan. I've stolen more from him than anyone. LOL
     
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  15. heltershelton

    heltershelton ASKED TO LEAVE THE STAGE Strat-Talk Supporter

    Jun 5, 2013
    Not Florida
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  16. Omar

    Omar Most Inquisitive Junior Member Strat-Talk Supporter

    Aug 9, 2017
    Marbella, Spain
    Many thanks e! It makes sense now :D

    G minor (vi) is the relative minor to Bb. Oh my Jazz :eek:
     
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  17. dogletnoir

    dogletnoir Most Honored Senior Member

    Nov 1, 2013
    northeastern usa
    LOL... not quite... the YT backer we're starting with is the simplest possible way to play chords that follow the tune,
    while the Real Book lead sheet would probably be the way most jazzers would start before adding alterations and
    substitutions... and those chords in the lead sheet would be Bb minor 7 and B minor 7 respectively.
    Just to give you food for thought, although the analysis of the Bb minor 7 / Eb7 change being borrowed from
    the parallel minor is certainly apt, you could also think of it as being a temporary half step modulation up to a new
    tonal center of Ab major and see those chords as a ii V7 in that key...
    :whistling:
     
    Last edited: Jun 3, 2018
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  18. Omar

    Omar Most Inquisitive Junior Member Strat-Talk Supporter

    Aug 9, 2017
    Marbella, Spain
    In order to give you a reason to set your guitars on fire :D
     

  19. dogletnoir

    dogletnoir Most Honored Senior Member

    Nov 1, 2013
    northeastern usa
    Here's my first loose attempt at playing the tune from memory to the YT backer,
    as if it had been called on the bandstand:
     
    Last edited: Jun 2, 2018
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  20. fezz parka

    fezz parka On...for Omar. Strat-Talk Supporter

    Apr 21, 2011
    Undisclosed.
    Ok ...I was sitting playing along and all of the sudden I started playing the Star Trek Theme (TOS) over it. Fell off my chair. Try it. :)


    I have been listening to as many versions as I can. This one...the first one...just blew me away. Der Bingle sure could sing. 1931. My Dad was a year old. Pre swing/pre bop. And a bridge!

     
    Last edited: Jun 3, 2018