After completing my practice routine today I spent some extra time learning "But Not For Me". Here is Coltrane playing it on his "My Favorite Things" recording from 1960:
Perhaps due to the relaxed tempo, Trane plays with much more simplicity and tunefulness on this song than on many of the others employing his matrix progression. He only rarely reverts to patterns. It provides a nice contrast, and I intend to work on this approach shortly, after becoming more comfortable with the progression through practicing patterns rigidly.
Here is my transcription of Coltrane playing the "in head" of "But Not For Me": [Click on the image to make it larger.]
I didn't include the cued "tag" at the end of the form. Instead of playing the last four measures, the band plays two measures of Fmi7, two measures of Ami7, two measures of C#mi7, two measures of Ami7 and then an open loop of iimi7 - V7 - iii half diminished 7 - VI7 (one measure each), before the next soloist "breaks" on EbMaj7.
Overall I would say today's practice session went well. I found I needed to spend some extra time on patterns 8, 9 and 10 (included in yesterday's posting.) Five minutes wasn't enough to make any noticeable progress. For these three patterns I will double my time tomorrow.
As always, ever up and onward.
Perhaps due to the relaxed tempo, Trane plays with much more simplicity and tunefulness on this song than on many of the others employing his matrix progression. He only rarely reverts to patterns. It provides a nice contrast, and I intend to work on this approach shortly, after becoming more comfortable with the progression through practicing patterns rigidly.
Here is my transcription of Coltrane playing the "in head" of "But Not For Me": [Click on the image to make it larger.]
Overall I would say today's practice session went well. I found I needed to spend some extra time on patterns 8, 9 and 10 (included in yesterday's posting.) Five minutes wasn't enough to make any noticeable progress. For these three patterns I will double my time tomorrow.
As always, ever up and onward.
The bass plays a descending whole tone figure on the melody.
ReplyDeleteYou're absolutely right. Thanks for mentioning this. I probably didn't include the bass notes so as to keep the lead sheet looking simple, for the sake of improvisers.
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