We would love to hear your feedback on our arrangements. Getz had a very long career, and sounded very different from 1947 to 1990 but he always had the incredible feel, swing and energy flow. There is plenty of evidence that shows Cats like Dizzy and Barry Harris teaching theory and improvisation approaches as early as the 1950's. Cookies allow us to personalize content and ads, to provide social media-related features and analyze our traffic. Nobody has ever come even remotely as close to sounding like Getz as he has, which is good. Practice approach notes, turns, and other conventional embellishments.
Note that what impresses you with the clarinet playing of others is their melodic content. The way you play over any tune all depends on the way you want to sound on it. . . Features Sweet Georgia Brown by : Count Basie : Sammy Nestico As recorded by Count Basie on Prime Time; here is the magnificent Nestico flag-waver to end all flag-wavers! We often play for non jazz public and in that case I prefer to concentrate more on swing and feel than on highly worked out technical tricks also because I'm not good at that. Now, Connstellation, Committee, Benge trumpets, Hoyer French Horn.
I get the feeling they dialed in some of the mids-high frequencies on his sax to give his tone some extra needed sizzle. It's a lot of work, but the most bang for your buck for sure. With vocal score notation and chord names. Performance Music Ensemble; Single Titles. This is ear music if there ever was.
As for gear, I talked to him about this course I did, I am a geek!! Years ago Trad Jazz was popular in the Pubs where I was living at the time, and what struck me as a Classical Clarinet student was that although the music seemed to be mostly arpeggios and licks normally heard for The genre, it was the enthusiasm or you could say soul that made the music come alive. There is plenty of evidence that shows Cats like Dizzy and Barry Harris teaching theory and improvisation approaches as early as the 1950's. There's no shortcut to being a successful improviser. Play the melody many, many times, each time using more and more of the embellishments while, at the same time, trying to get away from the melody itself. I know guys say that all this lingo is new and that the older guys didn't focus on theory, but that's simply not true.
You could also take the Swing or transitional swing route. You can transform the melody many times until it's no longer there, you are left with a new series of melodic tones. We also share information on the use of our site with our social media partners, advertising and analytics, which can combine them with other information you have provided to them or collected in your use of their services. I'm willing to bet you haven't really listened to his discography. The learning process is now different, as is the number of weekly playing opportunities. I'm just not wild about his tone, it sounds mushy to my ears I've never been crazy about his sound either but to each his own. Me too, and I agree with your post, not limiting your comments to trad jazz.
The timbre of his tenor sounds like a clarinet to me. This track was performed by , , , , ,. Where as I have heard a lot of live recordings of Harry and I totally get what you mean. I've never been crazy about his sound either but to each his own. You can choose from 17 arrangements for 10 instruments for the composition Sweet Georgia Brown. I often find that focussing too much on technical aspects of the chord sequences doesn't improve the quality and spontaneity of my solo's, but this depends of course on the type of music, audience and player. Talking pure theory can be good and is a universal place to start.
I heard him live last year, when he played unamplified. The timbre of his tenor sound sounds like a bari sax to me. Choral Octavo; Performance Music Ensemble; Single Titles. Getz didn't have any of that sort of tubbiness is his sound. I'm just not wild about his tone, it sounds mushy to my ears Harry is amazing. And not even a bass clarinet. And much to the chagrin of a lot of people, I never really liked Stan Getz's tone.
The timbre of his tenor sound sounds like a bari sax to me. I often find that focussing too much on technical aspects of the chord sequences doesn't improve the quality and spontaneity of my solo's, but this depends of course on the type of music, audience and player. It's a lot of work, but the most bang for your buck for sure. I recall putting my finger in the hole next to the number I wanted to enter, and rotating the dial to the stop. Listen to any live vids of his where he's not playing into a mic and I think you'll change your mind. The improv is mostly G7 for 4 bars, C7 for 4 bars, first repeat is most 251 of Bb and the second is mostly G-7 and chromatic. Harry is an oxymoron to me because his energy flow is amazing despite having a tubby and frankly mushy tone.