# Music by Genre > Jazz/Blues Variants, Bossa, Choro, Klezmer >  December Jazz Tune of the Month: Honeysuckle Rose

## Pete Martin

Honeysuckle Rose 1 MP3.mp3

Honeysuckle Rose 2 MP3.mp3

Notation here


Progression only here


Honeysuckle Rose was the winner of this months poll.  Attached is a chord chart and also the music notation for the melody.  If someone complains about copyrights, I'll have to remove the melody.  

Also attached are two play along files for you to download.  MP3 #1 is 140 BPM straight jazz backup, MP3 #2 is 125 BPM and Gypsy backup.  Of course if you want to do your own back files, go ahead!

The form is
Head
3 choruses solos
Head

Post links to videos or other sound files (like Soundcloud, etc) on this thread to keep them all together. Looking forward to this!

Sorry, I don't know why the PDF files are showing up as black boxes, but the files are there, just click the black box!

----------

Beanzy, 

Bob Visentin, 

colorado_al, 

crisscross, 

Dave Martin, 

DaveMorehouse, 

DavidKOS, 

DSDarr, 

Jess L., 

Mark Gunter, 

Mark Seale, 

Paulmazz, 

Teak

----------


## Jstring

Thanks Pete! I'll get to work on it....wonder if there's a way to make this more "visible"?

The lack of replies makes me wonder if most people saw your post....I know a lot of people were certainly interested...

I only saw it after thinking "hmmm wonder if Pete posted the tune yet" + then I went searching in the forum...

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## Mark Gunter

I think interested parties will find it, don't worry. You can be sure that there were probably a few more interested folk than those who actually wrote in the thread, _"I know a lot of people were certainly interested"_

Thanks, Pete.

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## DavidKOS

https://soundcloud.com/david-m-brown-2/honeysuckle

Someone has to go first!

I call this Honey-"trying to get my fingers to work on a cold morning"-suckle rose.

Recorded on my Fischbach flatback mandolin, single take no edits.  I liked the Gypsy jazz backing track's sound but it was too slow - I usually like to play this tune even faster than the 140 BPM track. 

Thanks Pete.

i'm looking forward to hearing your entries.

----------

Beanzy, 

colorado_al, 

crisscross, 

derbex, 

DSDarr, 

Jairo Ramos Parra, 

Jess L., 

Mark Seale, 

Pete Martin, 

Randolph, 

smokinop

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## Mark Gunter

For any interested parties who are "jazz novices" (like me) here is a page that explains "head" and "choruses"
http://www.jazzinamerica.org/LessonPlan/11/2/160

----------

DavidKOS, 

Drew Egerton, 

Jess L., 

Randolph

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## Pete Martin

Sorry everyone, in Jazz-speak "head" is the melody, "chorus" is one time through the tune, usually improvised.

Thus this arrangement is

Head
Chorus
Chorus
Chorus
Head


Here is my submission.  This one is a few years old...

----------

40bpm, 

Beanzy, 

colorado_al, 

crisscross, 

Dave Martin, 

DavidKOS, 

DSDarr, 

Jairo Ramos Parra, 

Jess L., 

John Lloyd, 

JRG, 

Mark Gunter, 

Mark Seale, 

Teak

----------


## DavidKOS

Sweet! Thanks for posting your playing, Pete.  Nice use of space between phrases too.

Now why didn't I remember to use octaves? Or full chords like you did at about 4 minutes in?

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## Jess L.

> https://soundcloud.com/david-m-brown-2/honeysuckle






> 



David and Pete, great stuff!  :Mandosmiley:

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DavidKOS

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## 40bpm

That was great Pete. I also like the chordal work.

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## MontanaMatt

On it soon, thanks for posting

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## Jean-Pierre WOOS

I don't Know Why i can't download your mp3 files.   :Confused:

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## Mark Gunter

Try right-click and save to your device? If you click an mp3 here normally (left-click) sometimes you get a funky page with an .html extension.

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## Mark Gunter

QUESTION: For you Jazz guys - Can anybody recommend what scale/scales I can practice in preparation for improvising on this tune? I had great fun last night learning the melody and playing along, but my attempts at improvising have not much basis in any roadmap - sort of like hunting and pecking on a typewriter - and the result is not very good.

----------

DavidKOS, 

smokinop

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## Jean-Pierre WOOS

I havé an .html extension...full of €@AIW&@....

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## Pete Martin

> QUESTION: For you Jazz guys - Can anybody recommend what scale/scales I can practice in preparation for improvising on this tune? I had great fun last night learning the melody and playing along, but my attempts at improvising have not much basis in any roadmap - sort of like hunting and pecking on a typewriter - and the result is not very good.


Mark, we all sounded like hunting and pecking when we started playing Jazz  :Mandosmiley: 

You COULD just play the entire piece using nothing but the F major scale.  While there are some places that is not ideal, it will work.  It is a good place to start.

ONE (of a zillion) ways to look at what you can play is to look at the chords and write out the notes to them.  This is very basic music theory knowledge that really helps when you play this stuff.

Gm7 = G Bb D F
C7 = C E G Bb
F6 = F A C D
F7 = F A C Eb
Bb6 = Bb D F G
G7 = G B D F

F major scale = F G A Bb C D E F

Notice that the notes for the chords Gm7, C7, F6, Bb6 are all notes of the F major scale?  That one scale will play all those parts of the tune well!

For the F7 chord, play the F major scale and change the E notes to Eb (The Bb major scale is what you get), and for the G7 chord, change the Bb notes to B (the C major scale is what you get).  

This is the quickest kind of "down and dirty" way to get through Jazz changes that I know.  

I also suggest practicing improvising against each chord for a period of time.  Start with the first chord, then the second, then against both.  I describe that method in this video.

https://www.youtube.com/watch?time_c...&v=sIWhPfS3IIY

I apologize to everyone here as it may appear I'm doing this to push my website, lessons, etc.  I will try to keep this to a minimum, but I will link to things I feel may help folks learn.  I want to show folks Jazz is very learnable, even though when we start, it looks quite daunting.

----------

40bpm, 

Bill McCall, 

DavidKOS, 

derbex, 

Drew Egerton, 

Jess L., 

Mark Gunter, 

RFMando, 

smokinop

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## Tom Wright

Try using only a few of the melody notes, like just the higher C and the nearby A, and scale fragments in that range. For me the feeling of the tune is the suspension, the holding in air, of the higher C and the coy A, before relaxing (resolving) to F major.

Or try going upward where the melody goes down, like starting on the lower C and playing the pentatonic arpeggio up to the higher one. Use the melody, as Bill Monroe suggested.

Other moves are to emphasize one note, like the ones common to Gm and C7, and the suspension note of A over either. A teacher in Chicago has students improvise using one note, so the statement is rhythm but also when you play that note relative to the chord at that time. Like just playing the A over both Gm and C7 chords makes a feeling of suspending in the air, and you can relax by resolving up or down at the place where the melody resolves, the end of the line.

Another idea might be to take the rhythm and melody shape from the A and B sections and switch them. Like use upward- or downward- moving half notes starting from a G to go up, or an F to go down for the A section. 

Then you can take the melody pattern in its first bar and transpose it up a fourth to fit over the F7 harmony in the B section. As in F Eb G Bb D, which could go all the way, and repeat a whole step higher for fitting over the G7 harmony.

A few good notes are enough. I like to echo the bits of melody like the intervals, perhaps with different timing. Or take the rhythmic element (da-da-da-da-daah) and repeat with different notes. Or just play the two main chords, the minor 2 and the major 5 and play them with different voicings, moving up or down.

That should keep you busy.

----------

40bpm, 

DavidKOS, 

Mark Gunter, 

Teak

----------


## DavidKOS

> QUESTION: For you Jazz guys - Can anybody recommend what scale/scales I can practice in preparation for improvising on this tune? I had great fun last night learning the melody and playing along, but my attempts at improvising have not much basis in any roadmap - sort of like hunting and pecking on a typewriter - and the result is not very good.


You may have the alphabet but not the words...or the words but not the sentences...or sentences but not the overall theme of the paragraph.

please read on...




> Mark, we all sounded like hunting and pecking when we started playing Jazz 
> 
> You COULD just play the entire piece using nothing but the F major scale.  ...
> 
> ONE (of a zillion) ways to look at what you can play is to look at the *chords* and write out the notes to them.
> 
> ..... I want to show folks Jazz is very learnable, even though when we start, it looks quite daunting.


RIGHT ON!

This song is almost all in F, but the bridge goes to Bb for a measure or so...then more V7's to C7..gets us back to the basic F key.




> Try using only a few of the melody notes, like just the higher C and the nearby A, and scale fragments in that range. For me the feeling of the tune is the suspension, the holding in air, of the higher C and the coy A, before relaxing (resolving) to F major.
> ......
> A few good notes are enough. I like to echo the bits of melody like the intervals, perhaps with different timing. Or take the rhythmic element (da-da-da-da-daah) and repeat with different notes. Or just play the two main chords, the minor 2 and the major 5 and play them with different voicings, moving up or down.
> 
> That should keep you busy.


Lots of good ideas here...but you need to know basic chords and scales before you can really play with echoing ideas, abstracting melodies, etc.

Pete brought up using the basic chord arpeggios of the song to use as a basis for soloing, along with a sense of what key you are at any moment.

This is a key to jazz, really knowing your chords. All my teachers were big on this.

----------

Jess L., 

Mark Gunter

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## DavidKOS

dupe

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## Mark Gunter

All good stuff and thank you very much.

... and that goes _double_ for David's response  :Laughing:

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DavidKOS

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## mandocrucian

*Something to bookmark.* Transcribed solos, and not just sax, but also trumpet, guitar, piano, bass and "other" (vibes, violin, trombone)

http://www.saxopedia.com/transcriptions-sax/

----------

DavidKOS, 

Mark Gunter, 

RFMando, 

Rick Jones

----------


## Tom Wright

Here's some examples of what I mean above:

----------

40bpm, 

DavidKOS, 

Mark Gunter

----------


## Mark Gunter

> *Something to bookmark.* Transcribed solos, and not just sax, but also trumpet, guitar, piano, bass and "other" (vibes, violin, trombone)
> 
> http://www.saxopedia.com/transcriptions-sax/


That's a great resource. There is a transcription of Zoot Sims' _Honeysuckle Rose_ in the key of F: Honeysuckle Rose

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DavidKOS

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## Drew Egerton

Great stuff so far and already some very good educational tips.
I don't sight read music very well to play so I've gone through and just written the letter of the note for them all. Now to learn to play it!!

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DavidKOS

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## Bill McCall

In addition to the stuff above, I also try to arpeggiate through the chords and only utilize a half step, or no step, when changing from chord to chord.  And not always starting on the root of the chord, or the existing melody note, maybe a chord tone above or below.  Just trying to create a new melody against the changes.  And there are no wrong notes, only bad choices.

I've also learned it takes a few weeks to get good at jazz.  I must be a slow learner :Laughing:

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DavidKOS

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## Brian560

David, That's awesome !

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DavidKOS

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## Jim Garber

> https://soundcloud.com/david-m-brown-2/honeysuckle
> 
> Someone has to go first!


Nice playing, David!  BTW you can embed soundcloud files to play here (you just have to click the Go Advanced button then click the Soundcloud icon to the far right bottom row and paste the URL into the code:

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DavidKOS, 

Jess L.

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## DavidKOS

> Nice playing, David!  BTW you can embed soundcloud files to play here (you just have to click the Go Advanced button then click the Soundcloud icon to the far right bottom row and paste the URL into the code:


I was wondering how to do that, thank you!

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## smokinop

I appreciate everyone's input. I'm very much like Mark in trying to wrap my head around this stuff, especially the chords. I'm really enjoying this thread.

Kevin

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## Mark Gunter

Well, here goes nothin'  :Smile: 

After speaking with Pete today, I decided to go ahead and try my hand at this improv. One of the beauties of being new to something is that there's no great shame if you suck at it!

I decided to do it in one take, and just stick with the first take. I could mess around with it, and 'fix' it up a little, but no, here it is, clams and all. I couldn't get through the first head without a couple of pretty bad clams. The choruses are straight improv, I practiced a few times since the tune was published by noodling around with scales. Then - when the final head rolls around, I am the most embarrassed. I could not remember the melody! I finally got it back on track somewhat after the B part.



Your browser does not support the audio element.

----------

Bill McCall, 

crisscross, 

DavidKOS, 

Jess L., 

Mark Seale, 

Pete Martin, 

Randolph, 

Scot63, 

smokinop

----------


## DavidKOS

> I decided to do it in one take, and just stick with the first take. I could mess around with it, and 'fix' it up a little, but no, here it is, clams and all. I couldn't get through the first head without a couple of pretty bad clams.


Thanks!

Welcome to reality in jazz!  I prefer sometimes to hear what you had in mind without "corrections".  

Nice ideas, feel, keep at it! I liked a lot of your motifs and the way you used them.

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Mark Gunter, 

Pete Martin

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## Mark Gunter

> Thanks!
> 
> Welcome to reality in jazz!  I prefer sometimes to hear what you had in mind without "corrections".  
> 
> Nice ideas, feel, keep at it! I liked a lot of your motifs and the way you used them.


Thanks David, I don't have any motifs, LOL I was searching for some motifs. That was fun. Sort of like playing live on a tune you're not that familiar with - only without the people staring at you.

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DavidKOS

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## DavidKOS

> Thanks David, I don't have any motifs, *LOL I was searching for some motifs*. That was fun. Sort of like playing live on a tune you're not that familiar with - only without the people staring at you.


You definitely found a few good ones. :Grin:

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Mark Gunter

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## des

..... said to indicate that one is about to start something difficult or exciting - Here goes!

----------

crisscross, 

DavidKOS, 

Jairo Ramos Parra, 

Jess L., 

Mark Gunter, 

Mark Seale, 

Pete Martin, 

Scot63

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## Mark Gunter

That's cool, des! Congrats for jumping into new waters. I'm thinking you probably had a lot of fun doing this.  :Mandosmiley:

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des, 

Pete Martin

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## Pete Martin

Nice Mark and Des!  Welcome to the Jazz improv world.  It is huge fun :Mandosmiley:  :Mandosmiley:  :Mandosmiley:

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Mark Gunter

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## Pete Martin

Here is Marmaduke, a *contrafact* of Honeysuckle Rose by Charlie Parker.  A contrafact is a new melody written to the chord changes of a previous tune.




Here is the music notation for Marmaduke.  There is no melody for the B part, but what is written is Parkers improv on the B part changes (*changes* is jazz slang for chord changes). 


There are 3 very common Bebop things I see right away in Birds A part:

Measure 3) the Bb, D, F, A, G lick, basically a Gm9 arpeggio starting on the b3 (Bb) and dropping to the 5th (D) then ascending by diatonic thirds (D, F, A). 

Measure 4) the rhythmic figure of 2 sixteenth notes falling on the "and beat of one" in a measure.

Measure 5) the Db note against a C7 chord.  This is the flatted ninth and is used as color on a dominant seventh chord.   

I hear ALL of these used very often in improvised solos in mid 40s on Jazz.

----------

DavidKOS, 

Jess L., 

Mark Gunter

----------


## Dave Martin

https://soundcloud.com/david-martin-...uckle-rose-ddm

Wow, really nice playing in previous posts.  My humble offering. Slightly slower, only 3 times through.

----------

colorado_al, 

crisscross, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Jess L., 

Mark Gunter, 

Mark Seale, 

Pete Martin

----------


## Mark Gunter

Embedding David's file here



BTW, if anyone uses soundcloud and would prefer to embed their file here instead of sending us to the soundcloud site, Jim Garber has noted in post #26 above how to do that by using the Advanced post feature.

There is another method that I use directly from the Quick Reply screen, and that is to type the soundcloud tags, pasting the soundcloud links between the tags. The soundcloud tags are typed like this:

----------

Dave Martin, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Jess L.

----------


## Mark Seale

Thanks for the early submissions.  Any tricks to getting a decent recording with the backing tracks playing?  Are you loading the backing track to garageband or just recording the sound from the computer speakers?

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DavidKOS

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## Mark Gunter

That was very pretty, Martin, a nice, relaxed feel to it and I love your tremolo work.

@Mark - I'm sure people do it differently. I loaded the mp3 track into Ableton Live 9 Lite which is what I've been learning to use for recording, and just went with the first take clams and all. I used a wee bit of compression and possibly a wee bit of reverb on the mandolin, don't remember.

----------

Dave Martin, 

DavidKOS, 

Mark Seale

----------


## Dave Martin

> Thanks for the early submissions.  Any tricks to getting a decent recording with the backing tracks playing?  Are you loading the backing track to garageband or just recording the sound from the computer speakers?


I load tracks into Audacity from BIAB.  (Windows) I use a Rode USB mic plugged into the computer.

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DavidKOS

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## DavidKOS

> Thanks for the early submissions.  Any tricks to getting a decent recording with the backing tracks playing?  Are you loading the backing track to garageband or just recording the sound from the computer speakers?


Like the other posters, I load the backing track into a DAWS, Cubase in my case, and then add the new track. A little compression, reverb, EQ, mixdown, and there you have it.

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Mark Gunter

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## Jess L.

What does compression do? Is it necessary? I haven't used it yet. Should I?

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DavidKOS

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## DavidKOS

> What does compression do? Is it necessary? I haven't used it yet. Should I?


It's not _strictly_ necessary, but a bit of properly used compression will make your recordings sound much more professional. 

https://music.tutsplus.com/tutorials...ion--audio-953

"Compression is the process of lessening the dynamic range between the loudest and quietest parts of an audio signal. This is done by boosting the quieter signals and attenuating the louder signals."

https://en.wikipedia.org/wiki/Dynamic_range_compression

https://www.soundonsound.com/techniq...sion-made-easy

----------

des, 

Jess L., 

Mark Gunter

----------


## Jess L.

> It's not _strictly_ necessary, but a bit of properly used compression will make your recordings sound much more professional. 
> 
> https://music.tutsplus.com/tutorials...ion--audio-953
> 
> "Compression is the process of lessening the dynamic range between the loudest and quietest parts of an audio signal. This is done by boosting the quieter signals and attenuating the louder signals."
> 
> https://en.wikipedia.org/wiki/Dynamic_range_compression
> 
> https://www.soundonsound.com/techniq...sion-made-easy


Thanks David.  :Smile:  I didn't know that was possible. 

I just assumed that it was up to the player to play at a consistent volume. 

I know I've thrown out many of my own (and others') amateur recordings over the years, because of areas that were too loud vs other areas that were not loud enough. I assumed they were not salvageable. 

But, I think I like the preemptive approach better, isn't that part of playing well, to strive for a more uniform volume while playing? I resist the idea of tinkering with selective parts of the music *after* it's recorded, it doesn't seem 'right' somehow. I will go as far as multi-tracking and turning down the treble knob (on the entire track) to cut some of the harshness from cheap condenser mics or shrill piezo pickups, and (sometimes) adding my beloved reverb   :Grin:  (well actually the reverb is live through the amp, it's not added later) but that's where I draw the line, so far, anyway. I'm probably just ridiculously old-fashioned...  :Whistling:  

Maybe I can get used to the idea if I can convince myself that compression is not a correction of the person who's playing, but rather a correction of the recording *equipment*... 

Anyway, thank you for the reply and the links, I will read up on that, I clearly have much to learn.  :Smile:

----------

DavidKOS, 

des

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## DavidKOS

> But, I think I like the preemptive approach better, isn't that part of playing well, to strive for a more uniform volume while playing? I resist the idea of tinkering with selective parts of the music *after* it's recorded, it doesn't seem 'right' somehow.
> 
> .....
> Maybe I can get used to the idea if I can convince myself that compression is not a correction of the person who's playing, but rather a correction of the recording *equipment*...


I agree about first _playing_ with a consistent even tone and control of dynamics.

But compression is not a "correction" per se, but rather a tool to make audio signals "fit" better in a mix. There's no guilt in using it!

----------

des, 

Jess L., 

Mark Gunter

----------


## Mark Gunter

Crutches: I had to use a crutch to get through the song, what I did was make a scratch vocal that called out changes like this:

"Chorus, A ... A ... B ... A ... A1 ..." and at the end of chorus 3, simply "Head."

I had to do this in order to keep track without counting all the changes so I could be free to improvise. I know that this would not work for a live situation, you'd have to keep track of where you are and listen closely for the changes, but this crutch made it possible for me to contribute something. This is just a tip for other newbies who may feel the need to "cheat" a little.

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## Jairo Ramos Parra

> What does compression do? Is it necessary? I haven't used it yet. Should I?


IMHO, stay away from audio compression...it requires a big learning curve. In acoustic home recordings reverb, eq, mix will be enough. David's  recordings sound awesome to me, but maybe he has years of experience. Audio compression has great debate in professional recordings...but that's another story...

----------

DavidKOS, 

Jess L.

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## DavidKOS

> IMHO, stay away from audio compression...it requires a big learning curve. In acoustic home recordings reverb, eq, mix will be enough. David's  recordings sound awesome to me, but maybe he has years of experience. Audio compression has great debate in professional recordings...but that's another story...


Jairo, it's not that hard to learn to use a bit of judicious compression. Plus, like you, I'd rather hear the original uncompressed performance than some of the butchered things I've heard where compressors are used as an audio weapon.

Yes, I do have a history of recording and engineering...but this is something that can be learned. To use compression at the level we want for acoustic mandolin is a far cry from the " big learning curve" stuff used for dance and pop production. It's not that hard to get a good mandolin sound with a little experimentation.

All we need is a simple compressor such as all DAWS have and to set it - and try to find a preset! - that gently makes the mandolin sound better. A bit of EQ that cuts out low frequencies is another common thing to add to the mix.

You are correct in that the big issue is getting a clean recording of a good performance. That is the most important part of recording. All the other stuff means nothing without the same things that people have dealt with since the earliest days of recording in any medium.

A good performance, recorded cleanly.

Of course today, we have more gear in our basic DAWS than most of the folks we love recorded with in decades past.

Thank you for your comment on my recordings, too. I'm still learning how to be my own engineer and producer!

----------

Jess L.

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## Jairo Ramos Parra

> Jairo, it's not that hard to learn to use a bit of judicious compression. Plus, like you, I'd rather hear the original uncompressed performance than some of the butchered things I've heard where compressors are used as an audio weapon.
> 
> Yes, I do have a history of recording and engineering...but this is something that can be learned. To use compression at the level we want for acoustic mandolin is a far cry from the " big learning curve" stuff used for dance and pop production. It's not that hard to get a good mandolin sound with a little experimentation.
> 
> All we need is a simple compressor such as all DAWS have and to set it - and try to find a preset! - that gently makes the mandolin sound better. A bit of EQ that cuts out low frequencies is another common thing to add to the mix.
> 
> You are correct in that the big issue is getting a clean recording of a good performance. That is the most important part of recording. All the other stuff means nothing without the same things that people have dealt with since the earliest days of recording in any medium.
> 
> A good performance, recorded cleanly.
> ...


I had bad experiences with compression, maybe due to a very basic audio equipment. But I really think that compression makes acoustic music(Unplugged) sounds flat and dull, if you don´t master it. In home recordings some reverb, eq, good tracks mixing will do the job for amateur musicians...as you said, a good performance, recorded cleanly...

----------

DavidKOS, 

Jess L.

----------


## Tom Wright

Phones and consumer video cameras all use substantial compression. Desktop recording software, however, does not. Various freeware exists, but to be safe, spend $20 or so for apps like Audio Recording Wizard. Also, Audacity, available free with some hardware, has good editing capacity.

After doing an uncompressed recording, my software (I use SoundForge for final editing) and others have an option called "normalize", which will increase playback level to a standard signal strength. You can either choose "peak level" which is only volume change, but also a compression setting as in "Normalize using---" and then you choose a sound level as the benchmark. For example, choosing -18 db makes for a slight compression, and it will sound very normal. Choosing a higher level, like -4 db, will mean a lot of compression.

All broadcast (and streaming) uses fairly substantial compression, so it's smart to use the least amount reasonable for the main edit. It will get further compressed at YouTube. SoundCloud does not compress, to my ears.

Best results will always be achieved using close miking, and adding reverb later. If using a phone or video camera with internal microphone, the sound will be the sound of the room, which then clashes with the sound of the room of the listener (unless they listen on headphones). I prefer to record audio alongside video, and drop the edited soundtrack into the video. That allows close miking and sweetening like reverb and EQ, as well as normalizing the playback level.

----------

DavidKOS, 

Jairo Ramos Parra, 

Jess L., 

Mark Gunter

----------


## Pete Martin

> https://soundcloud.com/david-martin-...uckle-rose-ddm
> 
> Wow, really nice playing in previous posts.  My humble offering. Slightly slower, only 3 times through.


Sounds good David.  I really like the tone you get as well!

----------

Dave Martin, 

Mark Gunter

----------


## Dave Martin

Pete, thanks.  That is my Breedlove Vintage F (2012?), with TI Strong strings, BC 60 rounded pick, into a Rode USB mic, double tracked on Audacity with one track straight and the other track with small amounts of compression and reverb.  Bob, Ike, Al and Brian on backing tracks.  

Thanks again for starting this.  It is going to be a treat for my ears (and a trick for my fingers).

Dave

----------

DavidKOS, 

Mark Gunter, 

Pete Martin, 

smokinop

----------


## Teak

Good tune, Pete. I worked this out with a bass player tonight; he also liked it. Now getting it miked and recorded and uploaded to the cafe, now that's another story.  :Frown:

----------

DavidKOS

----------


## Victor Daniel

Here is one with my Pava mandolin.

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## Victor Daniel

Here is one on my 21 Gibson A4 for comparison

----------

MANNDOLINS

----------


## Mark Gunter

They're not showing, Victor, might need to check your permissions settings at YouTube. Are they set to "Private"?

----------


## Victor Daniel

> They're not showing, Victor, might need to check your permissions settings at YouTube. Are they set to "Private"?


I double checked and they are public. I can see them on my device. Weird.

----------


## Jairo Ramos Parra

I can't see the video too, maybe is a problem with youtube, I have had problems with souncloud too...meanwhile the link...

https://www.youtube.com/watch?v=Q0aB7DBltLc

Excellent playing Victor, nice tone...

----------

DavidKOS

----------


## Jairo Ramos Parra

This is the link of the other Victor's video:

https://www.youtube.com/watch?v=SiU1cH3BxbQ

----------

DavidKOS

----------


## Victor Daniel

Lets try again!

This is with my Pava



And here with the 21 Gibson A4

----------

crisscross, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Jess L., 

Mark Gunter, 

Pete Martin, 

smokinop

----------


## Mark Gunter

Success! On posting the videos, and on playing the tune. You appear to be fluid at navigating the fretboard, and I really like that you are conversant with the chords and use a descending bass line with the chords. Well done.

----------


## Victor Daniel

> Success! On posting the videos, and on playing the tune. You appear to be fluid at navigating the fretboard, and I really like that you are conversant with the chords and use a descending bass line with the chords. Well done.


Thanks Mark. Like many mandolin players I come from a bluegrass/oldtime background but I have lately found a love for Swing and Jazz. Mandolin fits so well into gypsy or swing string bands. This is a fun group. let’s keep it going!

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## colorado_al

Here's my go at it. I had a couple of technical issues. My backing track cut out for a sec, and my video got mangled somehow. Sort of matches my playing in that section anyhow. Well, here it is:

----------

crisscross, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Jess L., 

Kevin Stueve, 

Mark Gunter, 

Pete Martin, 

Randolph, 

Victor Daniel

----------


## Drew Egerton

Nice job everyone so far, and kudos for having the guts to post for all to see.
I have the basic melody down but still trying to come up with some more creative ideas for the improv. Hopefully I can get something video-worthy together soon to contribute.

----------

colorado_al, 

Pete Martin

----------


## des

Here's another contrafact which I have found inspirational : Charlie Parker's Scrapple from the Apple. The recording is almost exactly 70 years old.



What's really helpful is that is transcribed for mandolin in TABedit in standard notation and tab on the Mandozine website

http://www.mandozine.com/music/searc...rder=A&submit=

----------

colorado_al, 

DavidKOS, 

Mark Gunter

----------


## DavidKOS

> Here's another contrafact which I have found inspirational : Charlie Parker's Scrapple from the Apple. The recording is almost exactly 70 years old.


and in the Real book:



The tune is based on "Honeysuckle Rose" for the A part and uses the common B part from "I Got Rhythm".

----------

Pete Martin, 

Teak

----------


## Pete Martin

> Here's another contrafact which I have found inspirational : Charlie Parker's Scrapple from the Apple. The recording is almost exactly 70 years old.


It constantly amazes me that such inspirational music and players can be found from ALL eras!

----------

DavidKOS

----------


## DavidKOS

> It constantly amazes me that such inspirational music and players can be found from ALL eras!


I never overlook players from any era in jazz just because they are not speaking the current hip dialect.

Sidney Bechet is just as valid as anyone out there now, for example.

----------

Pete Martin

----------


## Dave Martin

> I never overlook players from any era in jazz just because they are not speaking the current hip dialect.
> 
> Sidney Bechet is just as valid as anyone out there now, for example.


I highly recommend the book, "Really the Blues," by Mezz Mezzrow.  No music, but lots of jazz stories.  I believe it includes the sentence, "I was cut out to be a jazzman like the righteous are chosen for the church."  Kindle and paperback.

----------

DavidKOS

----------


## BrianWilliam

Behold a headless mandoliner in jazzland...

----------

colorado_al, 

crisscross, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Mark Gunter, 

Pete Martin

----------


## Mark Gunter

Can't see the video Brian ...

----------


## BrianWilliam

I updated my first post.  Initially I used the YouTube button on the advanced page from my phone.  This try is with the video button from my laptop.

----------

Mark Gunter

----------


## Mark Gunter

Nice arrangement and interesting embellishments to the melody, thanks for fixing the video.  :Smile:

----------


## CarlM

I was just listening to this slow version by Stefane Grapelli and was struck how much the melody resembles As Time Goes By.  Not quite another contrafact but close especially in the first couple lines of melody.

----------


## Jean-Pierre WOOS

From Belgium -Europa with friehdship...
My version, quickly done, with casualties, wounded and death...

----------

BrianWilliam, 

colorado_al, 

crisscross, 

Dave Martin, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Jess L., 

mandocaster, 

Mark Gunter, 

Mark Seale, 

Pete Martin, 

Rick Jones, 

Scot63, 

smokinop, 

StuartE, 

Swimbob

----------


## Jairo Ramos Parra

Jean-Pierre, awesome rendition...and from Belgium, Django's country! Thanks!

----------


## paul dirac

Apologies, All, if posting this is not in the spirit of this thread- I tip my hat to those who post their playing, and I would if I could!

Posted this in the Paul Glasse thread- it's my favorite!

----------

crisscross, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Mark Seale

----------


## Mark Gunter

That's awesome, Jean-Pierre, you've got that swinging rhythm in your bones and some interesting improvisation ideas. That is inspiration, thank you.

----------


## alexheflin

I thought I’d give it a try.

----------

colorado_al, 

crisscross, 

danielpatrick, 

Dave Martin, 

DavidKOS, 

des, 

DSDarr, 

Jairo Ramos Parra, 

Jess L., 

mandocaster, 

Mark Gunter, 

Mark Seale, 

Pete Martin, 

Scot63, 

StuartE, 

Swimbob

----------


## BrianWilliam

Wow!  Alex, that was awesome!

----------


## Pete Martin

Nice job Jean-Pierre and Alex!! :Mandosmiley:

----------


## Mark Gunter

Way cool Alex, great playing. Equally impressive to me is the control over your left hand fingers. That 6" long pinkie is always hovering out over the fretboard. Seems impossible for me to control my pinkie and ring finger.

----------


## Scot63

How inspiring!

----------


## des

> Apologies, All, if posting this is not in the spirit of this thread- I tip my hat to those who post their playing, and I would if I could!
> 
> Posted this in the Paul Glasse thread- it's my favorite!


Definitely Scrapple from the Apple at 1.40 - did I catch Donna Lee at about 1.23 ?

----------


## The Past and The Curious

I took a crack this morning.  Never really played this tune, but now it's all I want to play.  
Its a little meandering, but some stuff I dug when I listened back.

https://soundcloud.com/mick-sullivan...-tune-of-month

----------

BrianWilliam, 

danielpatrick, 

DavidKOS, 

des, 

Jairo Ramos Parra, 

Mark Gunter, 

Mark Seale, 

Pete Martin, 

Rick Jones, 

Scot63, 

smokinop, 

Swimbob

----------


## Mark Seale

> Apologies, All, if posting this is not in the spirit of this thread- I tip my hat to those who post their playing, and I would if I could!
> 
> Posted this in the Paul Glasse thread- it's my favorite!


One of the (many) things I get out of watching and listening to Paul play is his economy of motion.  He always seems to be in the right spot on the fretboard and in position for the next movement.  Great playing as always.

----------


## smokinop

I've learned so much in the past month or so, trying to listen and learn so I could get my head wrapped around these new voicings. This is all very new to me but I've been listening to a lot of different versions, a lot more jazz, reading the post, playing bits along the way. It all came together, you be the judge of that, this morning. And since I'm on vacation this week, I had time to work on it & get it recorded.

----------

DavidKOS, 

Jairo Ramos Parra, 

Mark Gunter, 

Mark Seale, 

Pete Martin, 

Teak

----------


## danielpatrick

Well, I gave it a go today! I've been working up licks that I've been posting for the past week. Hope y'all enjoy..... PS if you want the tabs for the licks listed through out the tune, they are free on my website in the signature link below!

----------

DavidKOS, 

DSDarr, 

Jairo Ramos Parra, 

Mark Gunter, 

Mark Seale, 

Pete Martin, 

smokinop, 

Teak

----------


## DaveMorehouse

I want to extend my gratitude to Pete for providing the material and backup files for this. I am just learning of the jazz tune of the month today (Dec 29) but I will certainly be active from this point forward. Great stuff.

Thanks again,
Dave

----------

danielpatrick, 

DSDarr, 

Pete Martin, 

smokinop

----------


## BrianWilliam

Yes, thanks Pete!

----------

