It's interesting how clichés don't sound like clichés the way that he phrases certain familiar melodic ideas my first instinct is that this has to do with authenticity in some way, that Jones was the progenitor or at least early adopter of many of these ideas with Bird and the original bebop musicians, but I think it also has much to do with the overall aesthetic of his playing. I haven't checked out Hank Jones enough (this is the first solo of his that I've transcribed), but I'm looking forward to digging into more of his improvisations in the near future. In some ways, I hear a strong Bill Evans influence (or at least confluence) in some of Chris Potter's rhythmic bebop phrasing-all the instantaneous shifts of momentum in a line with interpolated triplets, arpeggio fragments, and eight note-two sixteenths constructions that I originally found so refreshing in Chris's playing I rediscovered in Bill's single-line playing a few years ago. I don't think many would disagree that Bill Evans and Hank Jones are two pianists who are most reliably described as 'elegant.' They're definitely two of the more mainstream, more widely disseminated stylists of the jazz piano tradition, but certainly for good reason.

Ever since Miguel has been having me transcribe classic '60s Blue Note Herbie for my lessons, I've been increasingly cognizant of the great players in the bebop tradition and thought I'd take a closer look at their improvisations. In retrospect, I still think that was a good call, but I thought I'd make up for last week with an extra solo. La collection ultime pour les claviéristes de jazz pour apprendre 40 classiques d'Evans avec des transcriptions exactes note par note.Last week I passed on Transcription Tuesday because I had made a pledge with some friends not to bring our laptops to Vermont during spring break. Who Can I Turn to (When Nobody Needs Me).Song from M*A*S*H (Suicide Is Painless).The ultimate collection for jazz keyboardists to learn 40 Evans classics with exact note-for-note transcriptions. Or as we say in Virginia 'It's as easy as pie.' Read even more details on our blog.Will the Circle Be Unbroken Bury Me Beneath the Willow All the Good Times Are Past and Gone Don't This Road Look Rough and Rocky Amazing Grace Over in the Glorylandīill Evans Omnibook for Piano. With three keys to choose from you can also find a harmony part to suit yourvoice.Along the way we offer some helpful hints such as 'What key do I sing in?' 'How do I find my harmony part?' and 'How can I get a good blend?' At the very end Murphy and Bill break out their banjos for a rousing quartetversion of 'Over in the Gloryland.' Very entertaining!If you've been wondering how to sing harmony we've made it as easy as possible. Sometimes the men (Bill Chris) take the lead sometimes the women (Murphy Janet) take the lead. We sing several songs in three different keys so no matter what your vocal range you can tryyour hand at singing the lead part. You learn your part by singing along with us. First you hear thethree (or four) voices blending together then you hear each harmony part sung separately. Murphy and friends Bill Evans Janet Beazley and Chris Stuart join together to sing some beautiful trios and quartets. Harmony Singing Made Easy teaches you to sing harmony by ear.

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