Now we're gonna work out
on a tune called Lost Melody.
The Lost Melody it's called.
This one is based on
the changes to Without a Song.
It's a standard.
What I'd like you to start to
think about with this one is,
learn how to play on a, this is a standard
tune with two five kind of changes.
And refer to it if you don't remember
those, I'm sure you know them by now.
But two five progression.
And it has some altered chords in it too.
There's a couple of dominant chords
with the plus 11, one with a plus nine.
And again, from our piano tutorials
with the sounds of the changes,
you should know those.
And there's not a lot of sounds
that are hard to hear in this.
They all kinda make sense and a lot of
these standard tunes are kind of diatonic.
It's in E flat major, and
the bridge goes to G minor at one
point, so it actually starts in
A flat major and goes to G minor.
It's kind of a thing where once
you learn the basic changes,
I want you to start using your ear and
even playing around with the melody.
I want you to try to learn
the melody on this too.
But for now, you're gonna play
in two feel for the melody, and
then you're going to walk on the solos.
You're gonna take a solo.
And this is gonna be a time for
you to try to play some simple phrases.
I'm gonna show you what a solo would sound
like with some simple phrases, and some.
I'm going to introduce to
you some Bebop language,
which I want you to listen to the lines
and start to think about them by ear and
I would like you to learn some
of the lines I play by ear.
The most important thing
about the language of Bebop
is that you learn
the rhythmic language to.
It's not about scales.
Sometimes when people
approach learning Bebop.
They get stuck just learning
the chord scales, and
they don't learn the rhythmic phrasing.
Remember the rhythmic phrasing
comes from the triplet.
And it comes from being able to
really use that triple phrasing,
that's kind of what makes it swing.
We've talked about that a lot before.
The triplet connection to the African
six-eight, all that stuff.
It comes into play now.
Now we're gonna take some of the things
that we've been working on for
a long time and
really put them to the test.
We're gonna have to swing.
We're gonna have to play
some solos that make sense.
I'd rather hear you play
two-bar phrases and
leave some space, play another
two-bar phrase, leave some space.
I'll show you a little bit
about that when my solo comes.
I'll try to play some clear phrases to
you in that Bebop kind of tradition,
I want you to start listening to that.
Listen to records,
I would encourage you to get Jim Hall's
record called The Bridge, it has a song
on there with these same changes.
Remember to tune to four forty-two,
remember what we talked about how
those piano notes will sound, and
you can use the open notes to tune to
those or the harmonics at the octave.
Those are the ones that are most reliable.
So, another thing.
Remember we talked about
hearing eight bar phrases.
The drums play an eight bar intro to this.
And I want you to count and
learn to feel that eight bar phrase.
This is a classic kind of intro in a jazz
tune where the drummer plays eighths and
sets up the tune.
So you'll hear an eight bar drum intro.