![]() You don’t necessarily have to learn it note by note you can take parts of it you like, and add your own voicings if you prefer, and this way create your own arrangement. Take the transcription of the provided solo piano arrangement and learn it. Watching the tutorial will help with this step. While doing this, try to understand what is going on in the song try to detect II V movements, where does the harmony move, the form of the song, modulations etc. Learn the melody and chord changesĭo this in the simplest way melody on the right hand and simple voicings on the left, nothing fancy, just that you hear the chord’s relation to the melody. I would first take few goals how to start, for example you can start with 2 different parts: 1. However, starting the process might feel overwhelming. When learning a new song, like you guys said, learning it from all angles is important. For now, as we launch our Guitar Corner, explore Jim Hall's marvelous interplay with Art Farmer on this, their first recording together of Sometime Ago.Yes, there are tutorials and solo piano arrangements coming soon on both Spartacus Love Theme and Nardis, We will be exploring the marvelous interplay of these great artist on these newly released performances, as well as the two video performances as we develop our Guitar Corner. Recently, two more Art Farmer/Jim Hall performances in Sweden have been made available. First, in the recording studio in New York, Augthen on two television shows, a Jazz Casual performance on January 10, 1964, then in England for the BBC on June 6, 1964, which became more widely available as part of the Jazz Icons DVD series. Essential listening for any musician.įor a long time, there have only been three performances of Sometime Ago with Art Farmer and Jim Hall available. While guitarists had always played a role in the rhythm section (listen to the rhythm guitar brilliance of Freddie Green for example), Hall's performance here, as well as on other contemporary, piano-less albums such as Sonny Rollins' "The Bridge" (1962), cemented the guitar's credentials as a serious, modern comping instrument behind horn players, and cemented Hall's reputation as one of the great musicians of all time. Taking the first solo (on the studio recording), Hall eschews pyrotechnics in favor of pure and captivating melodic invention, carving out relaxed phrases that capture the essence of Mihanovich's song while being distinctly Hall's. Beneath Art Farmer's statement of the melody, Hall lays down a comfortable and propulsive cushion, tastefully navigating through the range of the guitar and crafting counterlines to frame it. On this Sergio Mihanovich waltz, Jim Hall's greatest musical qualities, his lush, bell-like sound his full-bodied, simpatico accompaniment his flowing, singing melodic style, are all on full and beautiful display. A transcription of Art's melody interpretation for the "in" and "out" heads on this recording is available, as is a transcription of his solo (click on the Solos tab for more information). All our lead sheets have Sergio Mihanovich's original tempo marking "slowly with expression" the song certainly works slowly in either key though Art Farmer plays it at a medium swing tempo. We have lead sheets available in F click on the Brookmeyer and Evans album covers for lead sheets in C. Though this first recording is in F, later versions by trombonist Bob Brookmeyer, vocalist Irene Kral and pianist Bill Evans established C as the most common key for this song. Many of the best jazz instrumentalists approach a song differently if it has lyrics keeping the lyrics in mind helps to shape the melody expressively. There is a particularly singable quality to the melody, even without the lyrics we have included the lyrics in all lead sheets. It gets developed over a logical set of changes, with the mostly diatonic texture broken up by altered chord extensions and, at the end of the B section, a II-V approached by another II-V a half step higher. The main melodic idea is very simple, an ascending major triad. ![]() It is not hard to see why this song has become a jazz standard.
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