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Band-in-a-Box for Windows
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Joined: Dec 2008
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Joined: Dec 2008
Posts: 264 |
Hey everyone
Working on a tutorial for Stormy Monday for my bass students...the Allman Bros version. I'm using the 12:8 Blues real Tracks (they sound really good btw).
In the original track there is an organ solo and everything switches to a double time feel. Does anyone know if we can achieve anything similar with BIAB and this real tracks collection?
Paul
PS I'm still on 2013 as I'm a Mac user, but posted in Windows forum as well.
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Band-in-a-Box for Windows
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Joined: May 2000
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The old B3 player here used to cover that tune quite a bit "back in the day" - where I was located, you couldn't get a gig unless you had a handle on this one.
I never viewed it as the classic 12/8, for starters.
It is in 6/8.
24 bars of 6/8 for the chorus.
And the Tempo does not really change at that so-called "Double-Time" break.
The Time Sig changes to, get ready, 6/16.
Of course, "sound-wise" as we have to do with BBs Time Sigs, it could be laid out in a variety of ways, possibly would go to using bars of 3 and laying it out that way, which would not make a good chart for reading, but may sound more appropriate at playback that way, and using the doubled Tempo trick at those bars. Never tried this one in BB.
If I had to create a Teaching situation, with audio playback plus charting, I'd likely close BB and try to lay the thing out in RealBand. Especially if you could find a good sounding MIDI file of it already out there somewhere. Then I could also open that MIDI file in a fullblown Notation Software to create written staff that could match it any way you want to lay it out, 12/8 inclusive if you would prefer to go that way. I would lay it out in 6, though, because that to me is the true trick of getting that feel across the choruses and with the fast break.
Yeah, lots out there identify this tune as a 12/8 thang, especially considering all the freebie TAB pages and whatnot, can't speak to them other than to way that I don't think they know enough about it to lay it out "right"...
Incidentally, the Allman's didn't invent this trick, they got it from Jimmy Smith, the man who defined so much of B3 jazz and blues playing, the man who likely single-handedly made the B3 part and parcel of the era's musics, both jazz, pop AND blues. Remember, Jimmy played the Bass parts with his Left Hand on the lower manual, accenting chiffs with the foot pedals, typically off of the Tritone. So, like if he was Walking the LH in F, he would be kickin' the B pedal, just at the initiation of the note, creating the "pluck" sound of the Acoustic Bass. In this great Allman rendition of Stormy Monday, we find electric bass being used to emulate Hammond keyboard bass ala Jimmy, how's that for turnin' it around and back again?
--Mac
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Band-in-a-Box for Windows
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Joined: Dec 2001
Posts: 265
Apprentice
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Apprentice
Joined: Dec 2001
Posts: 265 |
Great post, Mac! Makes me want to dig out my Jimmy Smith albums and relive the joy. Someone turned me on to him back in the late 1960's. As a guitarist, I especially love the albums he did with Kenny Burrell and Wes Montgomery. I think some of the tunes from these albums are on YouTube.
Jim
Psalm 33:3 Sing unto him a new song; play skillfully with a loud noise.
BIAB 2018 build 519; Dell Inspiron N4110, Windows 10 64 bit, Intel Core i3-2350m running at 2.29 GHz, Memory: 6 GB DDR3, SDRAM 1MHz
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Band-in-a-Box for Windows
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Joined: May 2000
Posts: 38,502
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The definitive Jimmy Smith/Kenny Burrell is "The Sermon". A tour de force in use of the Tritone, the first real song Joey DeFrancesco figured out how to play, learn this one and you've learned a good 60% about playing anything else. And that goes for guitarists and keyboardists alike. I'll never forget being a young undergrad taking Classical Music studies when some perfesser started up that stoopid thing about nobody being able to hear which of the two notes of a Tritone were on the top or bottom, the so-called, "Tritone Paradox". My hand went up immediately. "But I can hear 'em..." And, even after identifying every one he played on the piano at the front of the class, the guy went on to try to tell us that I couldn't hear them. But I'd already transcribed The Sermon in entirety by that point. On both instruments. Over-Educated Idiots, one can still Bing all sorts of references to this "Tritone Paradox" nonsense: http://www.bing.com/search?FORM=SOLTDF&q=tritone+paradox To quote the late great Louis Jordan, "Brother Beware!" Frank Zappa called America's Classical Orchestral Musicians, "Musical Mechanics" who only had to know how to play a standard repertoire of the same 30 pieces, over and over again... --Mac
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Band-in-a-Box for Windows
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Joined: Dec 2008
Posts: 264
Apprentice
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OP
Apprentice
Joined: Dec 2008
Posts: 264 |
Mac
Awesome posts. Thanks for your time.
What I found interesting is that when I programmed the tune with BIAB using the 12/8 blues style the bass line uses a lot of the runs that Berry used with the Allmans. Almost as if they programmed it using the Allmans version of Stormy Monday as the model.
I've seen/read in the circles I hang out a lot of people talk about the Allman's reharmonization of Stormy. Never heard anyone mention they copped it from Jimmy Smith though. Will check out Jimmy Smith's version.
Thanks again.
Paul
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Band-in-a-Box for Windows
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Joined: May 2000
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Jimmy did not do that double-time trick with the same song.
And right now, my brow is wrinkled as I try to recall the name of the Smith tune I can't think of at the moment.
Its late here, after a day of music, maybe after a good night's sleep and the mornin' mug of Kona coffee, I can check back in and reference the darn name of the tune...
Goshdarn I hate that, its right on the tip of my tongue, it is, really.
--Mac
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