"Hot House" part II

Happy Saint Patrick's Day. Here's I am working on "Danny Boy," and talking about the history of the song via my friend Jacob Garchik. If you haven't seen the George Benson version, check that out here. The video gets pretty long as I go into explanations of how I get the guitar voicings from the Percy Grainger arrangement. That arrangement is attached, and I'd encourage you to make your own arrangements of this lovely melody, which can be instructive about how to harmonize a diatonic melody without getting too fancy.

A deep dive into Melodic Minor from a recent member question. We cover uses of this sound as a tonic and dominant in improvisation, a brief look at Raag Charukeshi (a related Indian raga), and then some exercises for getting it under your fingers.

Today I look at a two part fugue from the Well Tempered Clavier. This one is especially well suited to the guitar. Two guitarists could play it together without any alterations of the sheet music (attached). I demonstrate this with an overdubbed recording.

Today's shape turns out to be All-Interval tetrachord 0137. In the video I go through what this means, and look at some of the sounds that we can get out of this shape in various transpositions and voicings. Sheet from 351 Shapes attached.

In this video I go through the fingerings that I've found for this somewhat tricky melody. I also talk about the language used in the lines, and how this relates to octatonic scales and expansions of the dominant chord developed by improvisors in the bebop era. My transcription for the tune is attached.

This is part 1 of two long videos about the bebop classic tune "Hot House," by Tadd Dameron. In this episode we don't actually get into the tune itself, but work on the background by taking a close look at the underlying harmony, which comes from "What is this thing called love" by Cole Porter. I go through the original piano sheet music for this tune (attached) and then a long discussion about what to do on the common chord progression known as a "minor ii-V" such as Gmi7b5 C7 Fmi. Readings from Dizzy Gillespie's autobiography reveal how he thought about it. The Emily Remler version that I talk about is here.

Here's a part of live concert in Brooklyn where we combine the Dog Star groove with Billy Strayhorn's "Lush Life." Check out the whole concert for free here. We made a vinyl album out of this series of concerts that's a little different from the video that you can find here. This is the end of the Dog Star series - I hope you've enjoyed it. Let me know if you'd like more of these behind-the-scenes looks at my compositional process. Next week I'll be beginning a new series looking at some standards.

Here's a second version of the Dog Star groove, after we had been playing it live for a while and it had turned into a different tune. Although there is a studio version of this tune, I opted for this video so that you can see the drummer. This is a "live" album recorded during the early days of the Covid lockdown in 2020, where I sang scratch tracks for the entire concert and then the band recorded to these tracks individually. A bit of an original scratch track is at the beginning of the whole video.

Here's the groove we talked about yesterday in it's first incarnation, at a recording session at the old Systems Two Studios, one of my favorite places in the world that is sorely missed. The full video can be seen here, along with other tunes from that session that led to the debut album for the band Trickster.

This is my first post about composition, a much-requested topic, but one that can quickly go down long rabbit holes. I try to limit the topic by talking about just the drum part from one of my tunes. This one has to do with the possibilty of people in the band feeling a groove different ways, and the idea that maybe this is ok or even desirable. In this post, I'm teaching the groove as I would to a band member - further videos will show this groove in its full context.