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Post new topic Autumn Leaves in C6th
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Author Topic:  Autumn Leaves in C6th
Andy Volk


From:
Boston, MA
Post Posted 18 Mar 2017 1:33 pm     Reply with quote

Woke up with Autumn Leaves in my head and had to get 'em out! So here's the basic chord melody arrangement of this great standard I did today. This isn't really a jazz arrangement - I left the harmony pretty much straightforward. I haven't really vetted the back-up chords against the music so feel free to correct if need be.

https://www.dropbox.com/s/6xfy2dwlyntvwjt/%20Autumn%20Leaves%20C6th.pdf?dl=0

MIDI audio for above arrangement: https://soundcloud.com/aev/autumn-leaves-c6-tuning
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Last edited by Andy Volk on 19 Mar 2017 5:20 am; edited 1 time in total
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Ron Ellison


From:
D.C.
Post Posted 19 Mar 2017 3:49 am     Reply with quote

Thanks Andy!
was just talking to 'THE TEACHER' (JE) about this tune.
Got it printed up, and will be working on it this week.
ron
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Jeff Garden


From:
Center Sandwich, New Hampshire, USA
Post Posted 19 Mar 2017 4:17 am     Reply with quote

Thank you, Andy!
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Andy Volk


From:
Boston, MA
Post Posted 19 Mar 2017 5:08 am     Reply with quote

You're welcome! And here's part two ... kind of a kitchen sink dump of various improv ideas. You likely wouldn't use all these approaches in one chorus like this but my intent was to show some ideas to newer C6th players. If you're a seasoned player I'm probably boring you.

Bar 3 features a D7 bar slant played using the nose of the bar on fret 9 to play two strings.
Bar 4 subs Em7 for Gmai7.
Bar 5 features a pedal-steel like slant move that could alternately be played as a behind-the-bar bend.
Bar 17 uses an Emin cliche lick over Gmai7. This chord progression (Em, Em(Maj7),Em7,A9) appears in countless songs like "A Taste of Honey","Michelle", "Chim Chim Cheree", etc. Bar 21 repeats it over Em.
The improv ends with a transition from Eminor to Emajor using a pedal point open E note throughout. This last lick is useful to insert in other songs that end in E.




MIDI audio of above: https://soundcloud.com/aev/autumn-leaves-improv-ideas-c6-2-audio
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Steven Tekulsky


From:
New York, USA
Post Posted 19 Mar 2017 6:13 pm     Autumn Leaves Reply with quote

Thanks, Andy! Just received his C6 lap steel book recently, and it is a fantastic resource - helping to improve my lap steel playing.
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David M Brown


From:
California, USA
Post Posted 20 Mar 2017 7:28 am     Reply with quote

I like how you handled measure 21 where some players do a Em-Eb7-Dm-Db7 walk down.
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Andy Volk


From:
Boston, MA
Post Posted 20 Mar 2017 8:18 am     Reply with quote

Yes, that's the typical jazz player approach to that measure but I never cared for it. While I love spicy, even dissonant harmony at times, AL is such a simple, beautiful tune that I like to keep it close to the source. I've always loved Edith Piaff's version: https://www.youtube.com/watch?v=n2s2tPORlW4
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David M Brown


From:
California, USA
Post Posted 20 Mar 2017 9:20 pm     Reply with quote

Andy Volk wrote:
Yes, that's the typical jazz player approach to that measure but I never cared for it. While I love spicy, even dissonant harmony at times, AL is such a simple, beautiful tune that I like to keep it close to the source. I've always loved Edith Piaff's version: https://www.youtube.com/watch?v=n2s2tPORlW4


That's a great choice.

I grew up playing the "typical jazz player" changes - but who can argue with Piaf?
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Miles Lang


From:
Rincon Beach, California, USA
Post Posted 22 Mar 2017 9:56 am     Reply with quote

Awesome. Thanks, Andy!
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Doug Freeman


From:
Los Angeles, CA
Post Posted 22 Mar 2017 7:46 pm     Reply with quote

Here's a silly one I did about 10 years ago, kind of at the convergence of my dabbling in bari sax, lap steel, and ukulele:

https://soundcloud.com/doug-freeman/autumn-leaves
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Ron Ellison


From:
D.C.
Post Posted 25 Mar 2017 5:17 pm     Reply with quote

Now that I'm playing thru this, there's some things....
Measure 9 starts with a 5-3-2 bar slant that I'm gonna need a longer bar for! (Long scale)
This is very slanty!!!
Measure 4 with a make-able 7-6-5, but the next string open sounds real cool, but it'll take mucho work.
Can there be too many slants? Can anyone put up a clip of this with no "meow" ?
The notes are there, but it's challenging for sure. I might have to 2-note it

Yes I'm whining!
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Guy Cundell


From:
More idle ramblings from South Australia
Post Posted 25 Mar 2017 5:43 pm     Reply with quote

Ron Ellison wrote:
Now that I'm playing thru this, there's some things....
Measure 9 starts with a 5-3-2 bar slant that I'm gonna need a longer bar for! (Long scale)

try 5-5-5 strings 1, 3 & 4
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Andy Volk


From:
Boston, MA
Post Posted 26 Mar 2017 2:48 am     Reply with quote

Ron, my apologies! Sorry to twist your bar hand in circles! That was a total error. Unplayable. I'd still use a slant there, but likely this one (bar 9) ...



Slants are indeed challenging - especially three-note slants. Depending on your string spacing, scale length, and where on the fretboard you want to play them, they can be even more challenging. But they are worth it because they open so many more possibilities. Some excellent players kind of avoid them because they don't ever want their intonation to sound off but I say go for them and see if you can make them work in your music. Sometimes, a wee bit of downwards bar pressure will help pull a three-noter into perfect tune. Vibrato is also your pal. With chord melody, the top note of the chord is usually your melody so often, you can't go wrong in leaving off the bottom note of a too difficult slant.
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Last edited by Andy Volk on 26 Mar 2017 4:42 am; edited 1 time in total
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Ted Duross


From:
Ottawa, Ontario, Canada
Post Posted 26 Mar 2017 3:21 am     Reply with quote

Thanks, Andy... I'm just getting started (about a year in) but I might as well aim high : )
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Ron Ellison


From:
D.C.
Post Posted 26 Mar 2017 4:17 am     Reply with quote

Thanks Andy,
I also have a D,(which could change) on top, and a Bb on the bottom. So I'm going to write it out and see what I can make out of your transcription.
I first tried this the other day with Guy's sheet of Little GS. I wanted to change from E7 to this bluesy G7 I came up with, (without having to change the Gmaj strings on my tricone). I made two versions of the tune, but had issues. I now know it's not so easy to change keys unless the string notes correspond.
E7 L-H = EBDG#BE
G7 L-H = GBDFBD ..But my 7th went from the 4th string to the 3rd in G7.
I liked most of what I came up with, and it started sounding like a cross of sweet Georgia brown and LGS.
A good exercise though, and gave me some ideas..
I like slants, to my ears they need to be strategically placed.
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Stefan Robertson


From:
London, UK
Post Posted 27 Mar 2017 12:08 pm     Reply with quote

man that reharmonisation looks tough.

Really different melody note choices but nice to see a different approach.

I don't envy you guys with less strings.

Great job Andy looks good though and that is the key.

For the F#m7b5 I ignore the b5 and just play an F#m7.
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Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F Bebop Tuning

Head & Hands to Steel your Heart.
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David M Brown


From:
California, USA
Post Posted 27 Mar 2017 1:59 pm     Reply with quote

Stefan Robertson wrote:


For the F#m7b5 I ignore the b5 and just play an F#m7.


Not to my ear. You could play it as if it were Am/F# - but you need the half diminished chord sound there to be correct.
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Stefan Robertson


From:
London, UK
Post Posted 27 Mar 2017 11:10 pm     Reply with quote

David M Brown wrote:
Stefan Robertson wrote:


For the F#m7b5 I ignore the b5 and just play an F#m7.


Not to my ear. You could play it as if it were Am/F# - but you need the half diminished chord sound there to be correct.


I only play it the second part leading to the B section. Sounds ok. But I guess its because I play the individual notes to maintain the melody.

As full chords sometimes sound too guitar like and cluttered for steel.
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Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F Bebop Tuning

Head & Hands to Steel your Heart.
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Stefan Robertson


From:
London, UK
Post Posted 27 Mar 2017 11:50 pm     Reply with quote

Just revisited it.

Have a listen.

https://ilapsteel.wordpress.com/2017/03/28/autumn-leaves-revisited/
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Bill Hatcher custom 12 string Lap Steel Guitar
E13#9/F Bebop Tuning

Head & Hands to Steel your Heart.
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