(This lick can also be heard in the intro to the 1954 pop hit ‘Mr. 1-8 is based on measure 3 of Thelonious Monk’s Round Midnight. The exercise below is based on licks which I associate with classic bop lines however, as the links in this paragraph show, the usefulness of these licks can be seen in how widely they were borrowed, and continue to be borrowed, in the jazz community. Below the exercise are some thoughts on how the use of melodic patterns based on chord voicings in bebop lines seems related to the interest of many great jazz players in respellings of words (such as backwards spellings and anagrams), particularly in their tune titles. This post starts with an exercise showing how typical jazz piano chord voicings for the one-bar ii-V progression are also expressed ‘horizontally’ in melodic patterns from classic bebop lines.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |