This topic contains 58 replies, has 11 voices, and was last updated by Wanda Buchalter 3 years, 7 months ago.
May 13, 2015 at 4:01 pm #356
YEAH MELVIN! Awesome! Great phrasing, nice relaxed feel. I want you to get your left hand involved too (even if you’re not able to hear/play the exact voicings that Wynton Kelly is using – try to comp in your left hand while playing the solo in your right hand).
This is excellent work!May 14, 2015 at 5:13 am #364
Hey Melvin, great job !
Did you take a video of Miles Davis ? ;-)…
Do you plan to post a video of one of your performance ?
I think we would learn from you.May 14, 2015 at 9:58 pm #372
yeah Melvin you’re a real cool cat, man! I can hear the coolness oozing over the internet! really, it was WOW…
Ok, so Paul has enticed me to take this challenge. and now that I finally cleared all the wires off my desk and got a start on organizing paperwork (the best part of music — NOT!!)
so, ok, I take the challenge!May 15, 2015 at 7:20 am #380
I’ll definitely try working that left hand in as accompaniment!
Quick question, what fingering do you recommend for playing grace notes? For example, on the F# to G (b3 to 3 of Eb7) at end of measure 5, I’ve been using fingers 2 and 3 but I know I’ve seen others suggest using finger 3 to slide off from F# to G. However I noticed that Wynton Kelly seems to play his grace notes with a slightly different rhythm at different points in his solo (which adds interest) that I would find hard to imitate using the ‘sliding finger’ technique, I also find it harder to control dynamics and articulation with the sliding technique. Your thoughts?
MelvinMay 15, 2015 at 7:41 am #381
Thanks Thierry & Mary Beth!
Thierry, I saw the video of you playing someone to watch over me, beautiful playing and harmonies, I really enjoyed it! I might have to take a look at that lesson soon!
Good luck with the transcription challenge! I’ve definitely learnt a lot so far!May 15, 2015 at 4:49 pm #391
You see?! These are the kinds of questions that you NEED to be asking, and now you are reaching that next level of sophistication as a pianist. You’re actually interested in all the little intricacies that make great piano players great – the articulations, the dynamics, the control, the rhythmic values… These are all very important things to study in order to reach the next plateau of playing, and now that you are transcribing (and hyper-focusing on every aspect of Wynton Kelly’s solo) you’re realizing how important and integral these considerations are. Perhaps something that you would not realize had you never practiced the skill of transcription.
Sorry – I just get very excited when I recognize that a student is about to take that proverbial “next big step…”
So, the short answer is “who knows,” as in “who knows exactly what fingers Wynton Kelly used when playing that solo?” However, I can tell you that, because of the way in which Wynton is articulating those notes, I highly doubt that he is sliding his finger from F# to G. I definitely think he is playing those two notes with two different fingers. For me, the most logical finger is 2nd finger on F# and 3rd finger on G (although, I think it is just as possible, and also very easy, to play the same two notes with the 3rd and 4th finger, and also the 4th and 5th finger). The thing that I’m most certain about is that he is not playing with the “sliding finger” technique.
So, definitely practice being able to play that line using two different fingers on the notes in question with the ultimate goal being that you can play the line just like Wynton – matching his articulation, touch, tone, control, etc.
Great question –May 15, 2015 at 7:01 pm #395
Lets’ try the first 12 bars.
I should be lighter on the notes I think, this has always been one of my big mistake, playing too hard. Something I’ll work on for the next 12 bars ;-).May 16, 2015 at 1:48 pm #408
I uploaded my transcript just now to Paul. There are probably a lot of mistakes as how I passed ear-training is still a mystery to me.
Sorry no video. I do not have a camera and my webcam is much too slow and everything would be a blurr. I did get carried away with Sibelius and copy and paste, though. I do not know if Paul will post it as I swung it.
MarkMay 18, 2015 at 7:18 pm #441
Hi Mark – I linked your notation of the solo to your post. Unfortunately, I cannot do the same for the mp3. If you would like to include that, the best way is to simply upload your sound file to youtube or SoundCloud and include the link in your post.
Excellent work on the solo. When I correct student transcriptions, I first look to see if the student has gotten the “big pieces.” Then I look for the finer details. You have done a very good job of getting the big pieces and getting the majority of the solo down, but there are some mistakes when it comes to the finer details. Specifically, you have some errors in the notes (often around the start or end of a phrase) and the specific chords. My suggestions as to how to improve your accuracy would be the following:
1. Practice playing along with the recording;
2. As soon as you hear something that doesn’t “fit,” focus on just digging deep into that section and trying to hear individual notes, checking for accuracy.
3. Practice playing small phrases and repeating them 20-40 times in a row;
4. Focus on playing not just the right notes, but also making your solo sound just like Wynton Kelly’s (modeling the touch, articulation, accents, rhythmic feel, etc).
5. If you are confused as to what you are hearing, consider the chord in the given measure. Oftentimes the harmony will dictate what is being played in the solo line.
Great work thus far – please continue!May 19, 2015 at 4:07 am #442
Thierry, thanks for posting the video, sounds great! I need to work on getting my left hand to comp while playing the solo like you are…May 19, 2015 at 4:11 am #443
Paul, thanks for the answer re: fingering!
What about in measure 13 when Wynton Kelly is playing the grace note Db to D? From the sound of the recording, do you think Wynton could be using a “sliding technique” here?May 19, 2015 at 9:16 am #446
Keeping up with this group will be hard. In my senior years, I have had 3 strokes. After the last one, it took a year to play a C scale without my hand collapsing. It is recovering and I can improvise a bit. During the time that I could not play, I learned to use Sibelius for my writing. I consider myself to be a composer and not a performer. I also have a habit of my compositional skills getting in the way of my transcribing. The file of my transcript is part composition on my part. I thought that I would share the song I wrote inspired by the transcription challenge. It is a lot of copy and paste, but I like it.May 20, 2015 at 9:15 am #460
The file I uploaded raises an interesting question that everyone should discuss as part of their learning music, and that is, “Is there such a thing as an original song?” Is what we compose original, or merely a re-arrangement of what we have heard before with some variations. I cannot say that the file is original as it is a re-arrangement of the solo we studied. That is why I did not post it on YouTube. It would be morally wrong for me to collect revenue for it, in my opinion, and perhaps legally wrong.
Some songs I do collect money for have been the result of hard work and struggling with the rules of harmony. As humans, are we really confined to repeating the past with variations? iTunes, in some of their Classical offerings, do not even mention the composer and instead only list the artist or conductor, which really annoys me.
There are some that think that given the way songs are conceived, that in the future, copyrights are going to break down. We will not reach the answer here, but it is something that every musician should think about.May 22, 2015 at 5:52 pm #481
Mark – amazed how you have been an ‘overcomer’…I wanted to take a listen, the link wasn’t working though. I agree about the originality of the song…and the issues of copyright.
btw everybody, I finally cranked out the first 8 m of the transcription. am I too late?May 23, 2015 at 2:47 am #483
Mary Beth: I do not know why you could not access it. I will try again. This version uses the sound of a guitar to be more contemporary. I suppose that the example is an example of what Paul meant when he posted that there are a lot of things you can do with the transcription. It is amazing what you can do with 12 bars.
Get busy, Mary Beth. I can wait. If Paul does post the answer, do not look at it!
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