– Many phrases begin on upbeats, and phrases that begin single upbeats are often contrasted with phrases that begin with multiple upbeats. I found the entire read very interesting. In his book Yardbird Suite, Lawrence Koch demonstrates that measures 1-2 of Ornithology were taken by Benny Harris from the opening of Parker’s solo on the 1942 recording of ‘The Jumpin’ Blues’ by the Jay McShann Orchestra. The transient (time-domain) solver can be set to use any of the following integration methods: central difference, Newmark, or Wilkson-theta. (A more recent example of this can be heard in a recording of ‘Anthropology’ by Parker’s  friend Sheila Jordan. Learn essential harmonic concepts using actual jazz standard repertoire: from II V I progressions to the use of subV7s , to borrowing chords from the minor mode. A recent news story described how publishers who represent songwriters Jeff Lynne and Tom Petty contacted publishers for singer/songwriter Sam Smith about  a four-bar similarity between the melody and chord progression of Lynne and Petty’s 1989 hit song ‘Won’t Back Down’ and Smith’s recent hit ‘Stay With Me’. a recording of ‘Anthropology’ by Parker’s  friend Sheila Jordan. Given the competing historical  accounts of when Parker tunes originated, there is no way to be sure of this theory, but in any case, noticing similarities between two tunes makes it easier to learn both of them. (The revision also made practical sense for Parker, as live recordings of the tune demonstrate that he often played the tune on pick-up gigs with local rhythm sections, and would likely have not had the time to rehearse the original version with these groups.). CE31A06 - Harmonic Analysis. In her solo, Jordan takes a phrase from Benny Harris’ tune ‘Reets and I’, a tune based on ‘All God’s Children Got Rhythm’, and develops it in a way that fits the progression of ‘Anthropology’.). But on the musical side, the question remains – have other jazz players (or any musicians for that matter) been able to incorporate music written in their honor into their repertoire as successfully as Parker did? I am still working on introducing some Bop tunes to our running playlist…. – Melodic patterns based on root position voicings, Pairings, part one: left-hand walking bass and right hand lines in Dave McKenna, Bach and Handel, Pairings, part two: left hand walking bass with right hand chordal comping by Kenny Barron, John Coates Jr. and G.F. Handel (or, Spring Comping Trip), Pairings, part three – Hand-some conversation: Two-handed melodic conversations by J.S. The pun in Harris’ title of the tune (i.e. Right off the bat, the first phrase of this seminal bebop tune shows the crucial  process of extracting licks from great solos and transposing them to other keys, as it transposes the lick from ‘The Jumpin’ Blues’ from its original E  flat to G major, the key of ‘How High the Moon’: Measures 3-4 of ‘Ornithology’ show Harris engaging with another process essential to the improviser: altering or developing a learned melodic idea to adapt to a different harmonic context (in this case, a different chord progression.) The opening phrase of ‘Ornithology’ can also be found (in the key of F) at the end of Lester Young’s ‘Shoe Shine Boy’ solo. – the ‘Honeysuckle Rose’ lick (from the opening of the Fats Waller tune by the same name) shows up in m. 8 of ‘Blues for Alice’ (rhythmically altered and with one note subtracted), in m. 15 of Donna Lee, and Parker disciple Cannonball Adderley’s solo on the Bobby Timmons tune ‘This Here’ (he uses the lick around 3:00, with two notes reversed.) We were quite surprised by how involved the … The tribute may even go deeper. However, it’s impossible to know them all and indeed some are more important to know than others. Harmonic is one of the most important concepts on the power system that cannot be neglected since it can affect the power quality and operation of equipment.

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