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RE: My journey into the blues #6 Progress?   You are logged in as Guest
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guitarbuddha

 

Posts: 2970
Joined: Jan. 4 2007
 

RE: My journey into the blues #6 Pro... (in reply to Escribano) 
How about now ?

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 17:17:05
 
Escribano

Posts: 6415
Joined: Jul. 6 2003
From: England, living in Italy

RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
I get it. I use it octave lower as a passing note. I also use the D7 pattern (on the top 3 strings) in a Hendrixy resolving riff but I am not that fond of it, yet. Thanks for taking the time to show me.

[Edit: I think because F# is a 'jazzy' sounding bridge note, which I am coming to appreciate through my journey, remembering that I come from a hardcore English rock and Indy background that would make your ears bleed ]

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 17:38:30
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele


My question is that how do you choose the notes in between the chord tones for them to sound best, if the chord progression is not based on one scale, for example Am-Dm-Em in which situation one would use mostly the Amin scale for passing notes? Or is there also another established approach to this?



There are several Minor scales in common usage. You are thinking of the Aeolian mode I think. This is very vanilla. But can be telling for example the solo to Stairway to Heaven has the flat sixth as a prominent colour tone. In a blues the harmonic minor has a flat sixth but is very seldom to never used over the tonic.

Dorian and Melodic minor both have natural sixths (F# again)



quote:

ORIGINAL: tele

Also G7b9 as a V of Cm blues, can you tell me why there's a note (B) that is not part of Cm scale but it's still called a V chord?
I would like to learn some theory approaches to playing but for sure too much thinking while improvising is not my thing.


Really it is best to talk about pieces. Some have a dominant seventh V chord and some a minor chord of some kind.

But both the C harmonic minor and melodic minor contain the note B. These are true minor scales because they have leading tones and are not merely homonyms for C major.


It is always best to study pieces and the work of the great improvisers whom you enjoy. What did they do ? Answer that in the particular rather than looking for a one size fits all theory of music. It kinda means you have to start over with every new piece and player. Which is great.

Why not try and transcribe the Sidney Bechet I linked to. Start with the chord progression and then work out the lines. You'l learn an awful lot. But if it isn't your bag choose something else. Best if the melodies are singable rather than technique based.

All the best

D.
D.

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 17:57:04
 
Escribano

Posts: 6415
Joined: Jul. 6 2003
From: England, living in Italy

RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
quote:

It is always best to study pieces and the work of the great improvisers whom you enjoy. What did they do ? Answer that in the particular rather than looking for a one size fits all theory of music. It kinda means you have to start over with every new piece and player. Which is great.


Very true and something I am noticing with BB King, Jimmy Page, Clapton, Peter Green and John Mayall, in my case.

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:00:15
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
So do you think there's no formula to choose scales as passing notes over chords that don't fit a scale that has all the notes of the chord progression in it?

All I know is how to use the arpeggios but what comes in between them, nobody talks about, are they supposed to be picked out by feeling or is there any rules that what scales would fit?

I am currently not very much into blues or jazz to start transcribing a certain piece or reading tabs unfortunately

quote:


Its a minor blues which starts on the V(D7b9) he plays Db9 arps and phrygian (Gharmonic minor). Over Gminor tonic mostly Gminor with an added ninth. To get to Cm the same thing G7b9 with G phrygian lines (Cminor) and mostly Cm with an added ninth (C,D,Eb,G).


Can you explain to me these scale choices what's behind them in terms of theory?

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:07:12
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to Mark2) 
quote:

ORIGINAL: Mark2

quote:

ORIGINAL: guitarbuddha

Yeah Hendrix had a beautiful voice. He had terrific chord fills and could make the guitar sound huge with his sparse but full rhythm playing. But I have come to believe that the reason his lines don't resolve convincingly is because he is lost.

D.


Don't resolve convincingly? Are you thinking of something specific or in general? I'd consider that a minority position that couldn't be formulated from a blues perspective. I could see a jazz player feeling Hendrix lacked "education" but even Miles considered Hendrix a genius. the idea that he was somehow lost as an improviser is certainly novel in my experience.


I'm just going by what I hear. I hear him as lost but with great big cojones. There are bits of lead that I like but most of the time he loses me.

I guess it depends on what you consider a blues perspective. Lester Young never sounds lost to me. Nor Gary Davies nor Lonnie Johnson nor Charlie Christian nor Robert Johnson nor for that matter Tony Rice.

Most jazzers I know have little to no respect for Hendrix as an improvisor and considered a lot of Miles work an attempt to engage with an audience conditioned to rock music.

But these are just opinions and some of them might be based more on prejudice than listening.

If you usually find a thread through Hendrix solos that keeps you clued in then you are probably hearing something I'm not and I am missing out. And that's why I was a little irritated about Red House. I checked out a few online versions and none of them spoke to me. I get the same feeling with Frank Zappa. But not Wes Montgomery or George Benson who are unerringly surefooted.

Anyway I really really love Jimi's rhythm playing and singing, who wouldn't ?

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:08:26
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele

So do you think there's no formula to choose scales as passing notes over chords that don't fit a scale that has all the notes of the chord progression in it?

All I know is how to use the arpeggios but what comes in between them, nobody talks about, are they supposed to be picked out by feeling or is there any rules that what scales would fit?

I am currently not very much into blues or jazz to start transcribing a certain piece or reading tabs unfortunately


You have to work it out on a case by case basic. And it's best to have the guidance of the best.

It doesn't matter who you are trying to learn from or what style they focus on. What matters is that you do the listening and work things out by ear. If you get the music or the tab then your are not exercising your ear. If you want a system that tells you what to do but isn't specific to a piece then you wont be exercising your ear. When it comes to improvising you need to be playing by ear.

If something is too complicated for you to play by ear from a recording then it is too complicated for you to improvise with so you need to build them muscles.

And there is so much that can be learned that you need to narrow your horizons. Take one chorus of something you love. First learn to sing it then. Then work out the chords and sing it with the chords. Then find it on your guitar and relate every phrase to the chord. That way when you hear a chord in a progression you will have an opinion on what your options are.

Here is an upload on Minor scales I think you will find it interesting. The guy is a pianist but he is very clear . And the main reason for that is that HE HAS CHOSEN PIECES to illustrate his point. Theory means absolutely nothing out of context.


D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:16:18
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
OK maybe I'll get more interested in this matter if there'll be lack of inspiration for flamenco. thanks

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:39:39
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele


quote:


Its a minor blues which starts on the V(D7b9) he plays Db9 arps and phrygian (Gharmonic minor). Over Gminor tonic mostly Gminor with an added ninth. To get to Cm the same thing G7b9 with G phrygian lines (Cminor) and mostly Cm with an added ninth (C,D,Eb,G).


Can you explain to me these scale choices what's behind them in terms of theory?


I listened to the first few bars and learned to sing it. Then when I tried to put it on the guitar I noticed the scales arpeggios and stuff.

And I would build my theory of Sidney Bechet on that. He chose them because those were the sounds he loved and wanted to explore as a composer. And in that he was probably basing things consciously or unconsciously on this older style of piece.

http://en.wikipedia.org/wiki/Waves_of_the_Danube

and a contemporary/retro guitar version.



Hope you enjoy.

What are you listening to that is inspiring your desire to improvise ?

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:39:50
 
marduk

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
flat 5th of the major scale is a nice one to slip into your minor pentatonic riffs. the "blues" scale uses minor pentatonic with this note added (did i say that right)
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 18:58:26
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
quote:

ORIGINAL: guitarbuddha

What are you listening to that is inspiring your desire to improvise ?

D.


Nothing really except a good rhythm guitar without a lead guitar

Perhaps my favourite jam is the "in session" of SRV and albert king

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 19:49:38
 
Mark2

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From: San Francisco

RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
I studied jazz when I was younger, played in a big band, and I think that when one is involved in chord scale relationships, b5 substitutions, and how to apply a half diminished whole tone scale in a standard, Jimi is of little help. But when you want to reach someone emotionally with a solo, he is one of the greatest. As far as blues perspective, the three Kings are, to me, much more to the point than CC or LY who were really jazz players with a strong blues influence. I love George Benson, an incredible artist, but for me Jimi was miles ahead, despite the fact he that didn't play over changes.
I wouldn't expect a dedicated jazz musician to agree.
quote:

ORIGINAL: guitarbuddha

quote:

ORIGINAL: Mark2

quote:

ORIGINAL: guitarbuddha

Yeah Hendrix had a beautiful voice. He had terrific chord fills and could make the guitar sound huge with his sparse but full rhythm playing. But I have come to believe that the reason his lines don't resolve convincingly is because he is lost.

D.


Don't resolve convincingly? Are you thinking of something specific or in general? I'd consider that a minority position that couldn't be formulated from a blues perspective. I could see a jazz player feeling Hendrix lacked "education" but even Miles considered Hendrix a genius. the idea that he was somehow lost as an improviser is certainly novel in my experience.


I'm just going by what I hear. I hear him as lost but with great big cojones. There are bits of lead that I like but most of the time he loses me.

I guess it depends on what you consider a blues perspective. Lester Young never sounds lost to me. Nor Gary Davies nor Lonnie Johnson nor Charlie Christian nor Robert Johnson nor for that matter Tony Rice.

Most jazzers I know have little to no respect for Hendrix as an improvisor and considered a lot of Miles work an attempt to engage with an audience conditioned to rock music.

But these are just opinions and some of them might be based more on prejudice than listening.

If you usually find a thread through Hendrix solos that keeps you clued in then you are probably hearing something I'm not and I am missing out. And that's why I was a little irritated about Red House. I checked out a few online versions and none of them spoke to me. I get the same feeling with Frank Zappa. But not Wes Montgomery or George Benson who are unerringly surefooted.

Anyway I really really love Jimi's rhythm playing and singing, who wouldn't ?

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 19:50:24
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to marduk) 
quote:

ORIGINAL: marduk

flat 5th of the major scale is a nice one to slip into your minor pentatonic riffs. the "blues" scale uses minor pentatonic with this note added (did i say that right)


Where do you like it ? I like it on bar ten like in the riff in the Lester Young jam on the other thread where I already pointed out I was talking to myself.

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 21:35:10
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to Mark2) 
It's Django for me Mark, used to be Randy Rhoads and Blackmore. We've all got our guys. I still like Fast Eddie Clark ! The more I listen to BB the more I like him.


D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 5 2014 21:40:48
 
marduk

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

Perhaps my favourite jam is the "in session" of SRV and albert king


you sire, have good taste. i love that video/cd


quote:

Where do you like it ? I like it on bar ten like in the riff in the Lester Young jam on the other thread where I already pointed out I was talking to myself.


I used to just go between pentatonic, blues scale and natural minor.. I didnt understand much theory at all when i was playing the blues, so it was just experimenting... if i wanted to do a trill it was often the note to do it on though :P
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 6 2014 7:18:19
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to marduk) 
quote:

ORIGINAL: marduk

I didnt understand much theory at all when i was playing the blues,


so it was just experimenting... if i wanted to do a trill it was often the note to do it on though :P


Well there is a theory there sir.

I think I give the impression that I am a big fan of theory for theories sake.

I am not I find that some approaches to theory are absolutely redundant. Guys go on and on about 'what can be done over a minor seventh chord' as if that chord is gonna last for ever and is completely free of context. And you can end up with a ton of out of context ideas.

I find the much more interesting approach 'what did such and such do in such and such a piece and when, why and how.

The blues scale as known and loved by guitar magazines kind of emerged from the actual music that was being played and sang by singers and improvisers. One day a load of the effects that were being employed were cobbled together and called a scale by someone or other and people started learning that instead of learning tunes (I raise my hand I am guilty).


The truth is the great improvisers do different things at different times and different scales are used in different ways at different times. One of the things that makes the great improvisors great is REMEMBERING what worked and AT WHICH POINT/S IN THE MUSIC. But most of them get their vocabulary from tunes which have way way more context and landmarks than scales.

For example I like the harmonic minor scale, sometimes for a laugh I reference it over the IV chord in a bluesy blues (in G over the chord C7 CDb EFGAb Bb) . Over the IV it is quite funny and sounds 'metal' over the I if I play harmonic minor it technically might work but it makes me sound like an idiot.

But in a gypsy jazz blues in a minor key I might use some kind of harmonic minor based material at any time.

And I think most of the members know what feeling they get when they hear a 'flamenco influenced' piece by someone who hasn't really listened to flamenco and they just noodle around in the harmonic minor the whole time.

Think of a blues like a meal, Main Course Pudding and Cheese Course.
You like a lot of sugar in your pudding, maybe some chutney with the cheese and maybe fiery chile in the main.

If you put chile and chutney in the pudding then some diners may be delighted.

But which ones ?

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 6 2014 10:00:47
 
tele

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RE: My journey into the blues #6 Pro... (in reply to marduk) 
thanks, by the way some guy noted here in the foro that they didn't seem to follow the chord changes. I don't listen that closely...


quote:

ORIGINAL: marduk

quote:

Perhaps my favourite jam is the "in session" of SRV and albert king


you sire, have good taste. i love that video/cd


quote:

Where do you like it ? I like it on bar ten like in the riff in the Lester Young jam on the other thread where I already pointed out I was talking to myself.


I used to just go between pentatonic, blues scale and natural minor.. I didnt understand much theory at all when i was playing the blues, so it was just experimenting... if i wanted to do a trill it was often the note to do it on though :P


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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 6 2014 11:30:44
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
quote:

ORIGINAL: guitarbuddha


You have to work it out on a case by case basic. And it's best to have the guidance of the best.



So if I would have chord progression Am-Bm for example, would it be wrong to use Am arpeggio and Am scale notes between the arpeggio notes while the Am is played on the background and then when Bm is played by the rhythm section, use Bm arpeggios and Bm scale notes as passing notes?

Does anyone do that kind of modulation, changing scale with every chord?
Or is the most common approach just to find by experimenting what notes sound good as passing notes between the arpeggios?

I often add all sorts of notes as passing notes but keep the scale as the base if the chords have the same notes as the scale.

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 6 2014 20:47:18
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
Hi Tele.

You need the guidance of the best as I said.

That's not me.

But if you call a tune we can talk, but Am Bm isn't my idea of a tune.

There are tunes that have only those two chords. But those two chords aren't a tune.

I uploaded a very poor improv today and what was most jarring about it was the absence of a tune.

No tune = masturbation.

And I am as guilty as the next man, unless the next man is playing a tune, in which case I am more guilty.

Call a tune. And the answer will be in it.

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 7 2014 2:36:24
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
This is popular:

Cmaj7 Am7 | Dm7 G7 | Em7 A7 | Dm7 G7

can you give some guidance on what would be appropriate to use between the chord tones(arpeggios) while soloing?

I have been very interested in this subject but never got around to find any answers. Only thing I've heard is that one should use scale modulation to find fitting passing notes, for example mixolydian scale for 7 dominant and aeolian, phrygian or dominant for the minor, major for the major chords etc. But I'm not sure if it's common practice...

Personally I would use C major scale as a base for passing notes in addition to the arpeggios until we arrive to A7, on that chord I would use A mixolydian for passing notes, would this be correct?

And what should I add if we would play this somewhat similar progression:

| Cmaj7 | C7 | Fmaj7 | Fm7 | Em7 A7 | Dm7 G7 | Cmaj7

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 7 2014 16:19:28
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele

This is popular:

Cmaj7 Am7 | Dm7 G7 | Em7 A7 | Dm7 G7

can you give some guidance on what would be appropriate to use between the chord tones(arpeggios) while soloing?

I have been very interested in this subject but never got around to find any answers. Only thing I've heard is that one should use scale modulation to find fitting passing notes, for example mixolydian scale for 7 dominant and aeolian, phrygian or dominant for the minor, major for the major chords etc. But I'm not sure if it's common practice...

Personally I would use C major scale as a base for passing notes in addition to the arpeggios until we arrive to A7, on that chord I would use A mixolydian for passing notes, would this be correct?

And what should I add if we would play this somewhat similar progression:

| Cmaj7 | C7 | Fmaj7 | Fm7 | Em7 A7 | Dm7 G7 | Cmaj7



The first one almost anything because it is all just C. Any song which doesn't really go anywhere

From the A section of Body and Soul or I got rhythm or Swing 42 to Turkey in The Straw or the Simpsons Theme Tune or Merrily We Roll Along.

Unless you PICK A TUNE then there is no answer. You would play completely different things over these different songs. And you would want to pick material in improve which is appropriate to the song and the chord sequence IS NOT a song.

Even if you wanted to improvise completely freely on the changes it would mean a lot more to you and your listeners if you used consistant vocabulary for whole sections. And the way you would know what that was would be to study tunes. TUNES.

The second one is incomplete because it seldom starts a tune and doesn't really stand alone for my ear. Unlike say pop tunes which have looping four or eight bar sections which are self contained this isn't it usually brings you back to the start of a song from the bridge.

But there is a real important line in it. B to Bb to A to Ab to G to a to B C. It is a good idea to hit these notes at the right time.


The reason that songs are absent from books and publications about this is because of copyright. I think this is why people are so confused as to what to play.

But you are not constrained by copyright in your practice........ so go on pick a tune.

D.

(By the way the above is really the advice that I need to be following and am irritated that I too often haven't)

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 7 2014 16:46:01
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
FYI Vipers dream is a nonstandard 12 bar Blues in F.

This version uses this four bar sequence C C7, F FM, D7 G7, C

If you listen you should notice that it does not stand alone since it was chosen to avoid convincingly establising a key.Therefore it builds tension, frustrations even. There is a sense of relief when the blues proper starts.

It would be exhausting to play over it as loop.



  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 7 2014 17:05:20
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
Sorry I didn't know tune would mean complete chord progressions for a song. Here's girl from ipanema:

http://www.jazz-styles.com/htm/scores/THE-GIRL-FROM-IPANEMA.gif

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 7 2014 17:06:20
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
No offence but I think that it is too hard for where you are at.



But if you really like it then learn the tune (ie be able to sing it, and to play it on the guitar with a playalong) And learn to accompany yourself singing it with the guitar.

Ignoring the second half for now (and you should).

Lets look at the tune.

First four bars are all G pentatonic (avoid B till third bar). There are no semitones.

The next two are Gm arp and then C7 arp (the c in bar 5 anticipates the c7 bar 6). C is part of the tonic triad.


That is what is happening in the tune. To play effectively over that part of the tune a start would be using the information actually in the tune and do what the tune does. The answers are always in the music. It doesn't really matter what I think should be played what really matters is what the composer wanted.


(other tunes that use this style of opening are Take the A Train, Indiana and Donna Lee, but when the good guys play them you know what the tune is even though the harmony is pretty much the same)

D.
D.



That sir is a start. !!!
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 7 2014 17:26:30
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
Thanks for your time but it was of no assistance, I found some explanations through youtube and wikipedia, for example http://en.wikipedia.org/wiki/Chord-scale_system

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 8 2014 18:42:41
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele

Thanks for your time but it was of no assistance,



I am not sure that learning is something that happens when you find material which agrees with what you already think you know.

For me it only really happens occasionally, and only ever after I realise I am confused and unsure. And even then I have to be patient.

Why not upload a solo over the song ?

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 8 2014 19:33:45
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
Sorry but all I was asking about if there is any established method on choosing passing notes between chord tones, and there seems to be one at least but thanks anyway

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 8 2014 20:33:04
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele

Sorry but all I was asking about if there is any established method on choosing passing notes between chord tones, and there seems to be one at least but thanks anyway



Cool, compare that method with the melody of the tune you chose.

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 8 2014 21:08:17
 
tele

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RE: My journey into the blues #6 Pro... (in reply to guitarbuddha) 
Sure there's several ways and some are better than others to play the guitar I was just looking for some methods to expand chord tone soloing as using only arpeggio notes seems a bit limited. I am interested in using these methods in other types of music than jazz as if I would start on that road it would take probably tens of years and I'm not that big of a jazz fan.

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  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 8 2014 21:24:52
 
guitarbuddha

 

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RE: My journey into the blues #6 Pro... (in reply to tele) 
quote:

ORIGINAL: tele

I am interested in using these methods in other types of music than jazz as if I would start on that road it would take probably tens of years and I'm not that big of a jazz fan.


OK. I am a little confused as to why you chose The Girl From Ipanema then when you could have chosen anything..

But yes you are right it was not helpful for me to spend my time analysing a piece for you that you don't want to play. Luckily my time was not totally wasted, at least I now understand the tune a little better than I did last time I looked at it.

D.
  REPORT THIS POST AS INAPPROPRIATE |  Date Jun. 8 2014 22:44:14
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