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Quote: Originally Posted by yaclaus Thanks for all the kind replies. One thing I want to make clear is that of course the language of bebop is essential and thereby Charlie Parker is essential. I was only questioning whether it technically applies on a guitar. Yes... I believe that it definitely does

Quote: Originally Posted by Phil Kelly another method of indicating non triadic or vagrant pitch classes is to write out an artificial scale ( or several pitch set fragments ) and direct the chordal players to form their chordal shapes from the set(s) of notes indicated. makes sight-reading fun!

Ok Al and Tenorman, thanks for explaining! It is a bit more clear to me now.

Quote: Originally Posted by Jay Norem Thank you, guys, but I'm talking specifically about the improv section. How would you tell the piano player to, well, fuck around with the chords, play some weird shit, take it out there, that sort of thing. I'm not doing very well at explaining this, am I? Take, for example...no, that doesn't work either. Maybe I got off on the wrong track here. I'll have to give this some more...

Quote: Originally Posted by guitarjazz The entire series is a must. Books I and II concentrate on single-string material. The only thing added since Jamey bought the series is that there are a couple of extra choruses transcribed in the first few tunes of the comping book. Check this out: http://andypolon.com/BG/BGdefault.html Nice one! Those prints are hard to read but still a great find! So books I and II focus on comping with melodies, is...

another method of indicating non triadic or vagrant pitch classes is to write out an artificial scale ( or several pitch set fragments ) and direct the chordal players to form their chordal shapes from the set(s) of notes indicated.

Quote: Originally Posted by page So I have a question. Does this just count for sheetmusic or is it about anything you write? Copyright law covers everything the law defines as a "work," which includes anything original you write. Quote: Originally Posted by page So if I place the copyright sign in the way edrowland describes under my stories and poems, they are copyrighted? Your copyright is in effect with or without the...

Quote: Originally Posted by Zack Selk I don't know. In my PrintMusic, it won't let me input triplets at the end of the measure. I've heard of many other people having the same problem. I had this problem and they sorted it out on the finale forum....trouble is I can't remember what I did to tell you! Check out their forum and do a search or post a qustion Zack.

I think some people are missing the point. Some of you keep talking about playing at blistering speeds, technical prowess, having cutting contests, competition in general etc., and I don't think that was what was intended by the OP (and I KNOW that's what I'm necessarily referring to either). After all, the first example he gives is Body and Soul (a ballad), and the two I gave were a slow blues (which WOULD imply slow), and...

Quote: Originally Posted by yaclaus I hear you. Displacement is really a big part of his playing. I can also hear phrases, that really decieve you, because they normally are played on other beats than he plays them on. Right now I´m transcribing Yardbird Suite - A fairy easy and short solo. I notice that on the transcriptions of this solo (Which I use to check if my own is ok) a lot of slurs - I think that´s the word - 16th triplets and...