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II-V-I Tracks?

 
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woland99



Joined: 31 Mar 2007
Posts: 155
Location: Austin, TX

PostPosted: Sat Apr 14, 2007 6:11 am    Post subject: II-V-I Tracks? Reply with quote

How about adding few ii-V-I to JCS?
With few variations eg VI-ii-V-I etc ?

JT
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bigdaddydannyq



Joined: 07 Apr 2007
Posts: 7

PostPosted: Sat Apr 14, 2007 10:37 pm    Post subject: Reply with quote

In the jam tracks page there is a tune callled speech therapy. Its II V turnarounds for you practice with
Big daddy
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Gorecki
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Joined: 24 Feb 2007
Posts: 238
Location: Glenwood, MD

PostPosted: Sun Apr 15, 2007 1:28 am    Post subject: Reply with quote

I presume it wouldn't be difficult for one of us to use Band in a Box to whip out a few dozen of them and post them for our members?

I usually just sit down and plug in some changes and don't even save it. Confused

I have to look at the calendar but maybe before long I can pump some of those out. Razz
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Mark
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Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR

PostPosted: Sun Apr 15, 2007 2:16 am    Post subject: Re: ii-V-I tracks? Reply with quote

woland99 wrote:
How about adding few ii-V-I to JCS?
With few variations eg VI-ii-V-I etc ?


JT (and everyone else),

Okay, three things:

1) Yes, Dan is correct in that the Speech Therapy track was put there expressly for improvising over the all-important II-V progression.

2) The reason why ST is the one exercise-oriented selection at JCS is that overall I don't believe in exercises per se. Why? It violates my "jazz religion" and central mantra of only practicing things that you would actually PLAY for someone. I realize that this philosophy often eliminates 50% or more of what players practice, including scales and exercises. There are much better ways of spending your valuable time.

3) Instead of exercises or abstract cycles generated from BIAB, dial up tunes like "Pent-Up House" (Sonny Rollins), "Tune-Up" (Miles), or "Perdido" (Duke), because they are classic jazz standards that are heavily based on the II-V progression. I mean, why not practice the real deal and something that you'll actually play with others and for others, rather than some pointless exercise? That's what Wes, GB, and Kenny did by making the music itself become the means to an end.

If those tunes aren't enough, then tackle "Rhythm Changes" or any swing blues for working out on both the II-V progression and the I-VI-II-V turnaround common to so many standards.

Btw, I'd eventually like to see this JCS sub-forum evolve into individual topics based on those tunes and others, for the sake of discussing approaches to improvising over changes. All in good time...

- Mark
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woland99



Joined: 31 Mar 2007
Posts: 155
Location: Austin, TX

PostPosted: Sun Apr 15, 2007 6:03 am    Post subject: Re: ii-V-I tracks? Reply with quote

Mark wrote:

2) The reason why ST is the one exercise-oriented selection at JCS is that overall I don't believe in exercises per se. Why? It violates my "jazz religion" and central mantra of only practicing things that you would actually PLAY for someone.


I have to agree that playnig with "abstract BIAB cycle" is not very
inspiring. Thanks for recommending those tunes, Mark.

JT
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Don MacArthur



Joined: 10 Apr 2008
Posts: 50

PostPosted: Sat May 10, 2008 10:55 pm    Post subject: Reply with quote

I totally agree with the advice to practice only what you will play. We only have so much time to devote to our profession or hobby. As part of taking lessons good teachers should point out what to play and not play like Mark has done. I feel sick when a teacher says that I should learn a scale in a certain key and then learn it all over again in the other 11 Keys!! I don't think I'd ever play a scale in a live situation so why practice it at all.

Thank you Mark for teaching us what we really need to practice!

Don MacArthur
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Mark
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Joined: 26 Feb 2007
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PostPosted: Sun May 18, 2008 5:40 pm    Post subject: "Real World" Path Reply with quote

Don MacArthur wrote:
Thank you Mark for teaching us what we really need to practice!


Don,

You're more than welcome. I completely relate to your situation having once been there myself, so whatever I can say or do to help you and other aspiring players avoid the confusion, frustration, and self-doubt that I once experienced is well worth it to me.

I believe that the jazz educational system for the most part is seriously flawed, due to supposedly "credible authorities" who can talk a good mind game but really haven't paid the dues and therefore can't speak the language. I wrote an article regarding this dilemma, with a central theme of avoiding bad advice and the "blind leading the blind" syndrome that is common in the world of music academia.

Btw, when I say "paid the dues" I am referring to the same dues that my mentors paid by imitating and assimilating the knowledge of their influences, which is how they became so conversant and perceived as naturally talented. In reality, it really wasn't a matter of inate ability, but simply being on the right path. Because players seeking the knowledge want to have faith and believe what they're told (why would their teacher lie to them?), they often don't bother to look under the college degree hood and ask themselves if their teacher can actually back up the talk?

The reason why I share my past trials and tribulations as well as my recent recordings with you and others is both to validate the path and to encourage players to have the faith and belief that they can do the same thing. To me it's all so logical, because once I started following in the footsteps of great players, everything came together and I haven't looked back since. All for now...

- Mark
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thaydon



Joined: 31 Mar 2007
Posts: 80
Location: Cincinnati, Ohio

PostPosted: Sun May 18, 2008 10:31 pm    Post subject: Re: "Real World" Path Reply with quote

Mark wrote:

which is how they became so conversant and perceived as naturally talented. In reality, it really wasn't a matter of inate ability, but simply being on the right path.

- Mark

I guess what is true for music, could also be true for baseball or any endeavor for that fact.

Curt Schilling: "Everyone always think the most talented players — the Cal Ripkens of the world — are just gifted. It's the exact opposite. They are gifted. But they work harder — in a lot of cases, twice as hard — as everybody else. That was the personality who came to mind for me with Manny — Cal. Cal took a hundred groundballs every day — every day. Manny hits and he's in the video room as much as I am, watching video."
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Todd
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Mark
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Joined: 26 Feb 2007
Posts: 479
Location: Portland, OR

PostPosted: Sun May 18, 2008 11:06 pm    Post subject: Myths About "Talent" Reply with quote

Todd wrote:
I guess what is true for music, could also be true for baseball or any endeavor for that fact.

Curt Schilling: "Everyone always think the most talented players — the Cal Ripkens of the world — are just gifted. It's the exact opposite. They are gifted. But they work harder — in a lot of cases, twice as hard — as everybody else. That was the personality who came to mind for me with Manny — Cal. Cal took a hundred groundballs every day — every day. Manny hits and he's in the video room as much as I am, watching video."


Todd,

Yes, I've always felt that there is a parallel between music and athletic achievement when it comes to work ethic and direction trumping "natural talent." Another example is basketball legend Larry Bird. Was he just born a great free throw shooter, or did the fact that he shot a minimum of a thousand FTs a day have something to do with it? Wink

Pop used to tell me to assume that I had absolute zero talent or natural ability, because he knew that I would work twice as hard to get there, and he was absolutely right. All for now...

- Mark
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