How to end a jazz tune...

Discussion in 'Tab, Tips, Theory and Technique' started by Texas Picker, Nov 8, 2013.

  1. Texas Picker

    Texas Picker Tele-Meister

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  2. McGlamRock

    McGlamRock Friend of Leo's

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    This one's kind of a variant of number 4. My college big band professor called it "the Basie Ending"

    -8-9-10---3----------------------
    -8-8-13---3----------------------
    -7-9-11---2----------------------
    -7-8-10---2----------------------
    -----------3----------------------
    ----------------------------------
     
  3. upinthemteles

    upinthemteles Tele-Meister

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    8x778x
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    you can use whatever maj shape you like most
     
  4. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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  5. upinthemteles

    upinthemteles Tele-Meister

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    Sweet!

    The fingering transition to each chord is surprisingly easy.
     
  6. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    I'll be here all week, Try the veal!
     
  7. GuitOp81

    GuitOp81 Tele-Holic

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    Apart from one suggestion attributed to Miles Davis in response to a similar question (how to end a solo) posed by John Coltrane (something like "just pull that horn off your mouth") I have two videos with a few turnarounds that I pulled from Ed Bickert's performances, most of which can be used as endings.
    You can see if you find them interesting

     
  8. GuitOp81

    GuitOp81 Tele-Holic

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    Here is the second one

     
  9. BigDaddyLH

    BigDaddyLH Telefied Ad Free Member

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    Thanks! I dig Bickert, I even named my ASAT, "Ed".
     
  10. Larry F

    Larry F Doctor of Teleocity Vendor Member

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    Cool. By coincidence, I had a lesson on Wednesday with one of my composition students. I introduced him to the idea of forcing an ending on a piece. This sometimes needs to be done when under a deadline. Beethoven has a reputation for not being able to end his music well. It can seem like you have to pull the manuscript out from under him, as he is still writing stuff that flows out of him.

    I am really interested in the idea that different types of music have different types of things going on. Beginnings, intros (different than beginnings?), dynamics, tempo, key structure.

    Clapton sometimes does an interesting thing. When he is playing onstage with a guest guitarist or two, when it comes time to solo, he often plays a minor dyad in 8th-note triplets. Sometimes for a full 12 bars. Where this observation becomes interesting is in suggesting why he does this and in what situations. Of course, we can never fully answer why, and often times neither can the guitarist. But one reason might be that it cleanses the palate. Let's say another guitarist really burns on an extended solo. Then, it is Clapton's turn. Rather than trying to up the ante, he will back off and play the simplest kind of thing he knows how, which is the dyad in triplets. This way, he gets to build a solo on his own terms, without being unduly influenced by the preceding solos. Another rationale for this is that he is showing respect to the previous soloist. This is especially poignant when the previous soloist is an aging legend.
     
  11. MrCairo46

    MrCairo46 Friend of Leo's

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    Jazz tunes end ?????
    I always thought they just modulated and decrescendo out ............
     
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