bemsha swing keith jarrett transcription

Bemsha swing keith jarrett transcription update#

On Garner’s original recording of the tune, his emphasis on chord extensions in the right-hand melody mirrors his left-hand chord voicings, which combine root position voicings with rootless voicings – voicings built on degrees of the chord other than the root, particularly the third and seventh, and in which chord extensions are emphasized through their placement on the top of the voicing. 1955 saw the release of pianist Erroll Garner’s recording of his tune ‘ Misty’, which uses much of the progression of ‘I Want To Talk About You’ but substitutes a different melody that emphasizes upper chord tones (such as the 7th in the first measure, the 9th and the 13th in the second and fourth measures) rather than triad tones. The melody of this tune mostly emphasizes the triad tones of each chord in the progression. (I am using the term ‘Cherokee progression’ for ease of reference, not to imply conclusively that it was borrowed by Ellington from ‘Cherokee’.) In 1945, Billy Eckstine released his tune ‘ I Want To Talk About You‘, which begins with the shortened ‘Cherokee’ progression that appears in the Ellington tune.

Ellington’s tune opens with the ‘Cherokee’ progression but spends only a measure on each chord.

Bemsha swing keith jarrett transcription update#

The progression also appears in Duke Ellington’s ‘ Do Nothin’ ‘Til You Hear From Me‘, the 1947 update of Ellington’s 1940 composition ‘Concerto for Cootie’ with Bob Russell’s lyrics added. develop longer melodic ideas, on each chord. One possible reason for the longevity of ‘Cherokee’ is it that spends two bars on each of the changes in the progression, which gives improvisers a chance to ‘stretch out’, i.e.

Although this progression appears in earlier pop tunes such as ‘ Tonight You Belong To Me’, first released in 1927, ‘Cherokee’ is perhaps the best known tune in the modern jazz repertoire to use these chords. In this progression, the tonic chord becomes a dominant seventh that leads to the IV chord, which is then followed by either the minor IV or a dominant chord based on the flat 7th of the tonic major scale, which in turn leads back to the I chord. The tune begins with a chord progression that could be described as I – I7 – IV – iv – I. British bandleader Ray Noble published his tune ‘ Cherokee’ in 1938.