Dear Bret, Thanks for such a burning session!!! There’s something permanently mysterious about Tyner’s vocabulary. The phrases just sit there, refusing to give up any secrets. I thought that I had a pretty clear idea on how to play chord changes, but when it came to conceptualizing McCoy Tyner on the piano, I am lost. Of course there was an abundance of pedagogic material on “modal playing”, going through chord voicings built on fourths, pentatonic scales, side-slipping techniques, modal substitute scales and everything that show me examples on how to get closer to that sound. But somehow I just couldn’t make all of this connect with the sound I heard on his recordings and in his live sessions. There is still something missing for me: a bridge between the functional chord changes and modal jazz expression...a magical, fascinating and elusive connection...Do you know why Miles was so disdainful to him?...
Muchas gracias Bret, disfruta mucho esta temporada navideña en México. Tulio
Dear Bret, Thanks for such a burning session!!! There’s something permanently mysterious about Tyner’s vocabulary. The phrases just sit there, refusing to give up any secrets. I thought that I had a pretty clear idea on how to play chord changes, but when it came to conceptualizing McCoy Tyner on the piano, I am lost. Of course there was an abundance of pedagogic material on “modal playing”, going through chord voicings built on fourths, pentatonic scales, side-slipping techniques, modal substitute scales and everything that show me examples on how to get closer to that sound. But somehow I just couldn’t make all of this connect with the sound I heard on his recordings and in his live sessions. There is still something missing for me: a bridge between the functional chord changes and modal jazz expression...a magical, fascinating and elusive connection...Do you know why Miles was so disdainful to him?...
Muchas gracias Bret, disfruta mucho esta temporada navideña en México. Tulio
Oh Yeah!!!