'The Girl from Ipanema' - Antonio Carlos Jobim
Avec
Joe GlossopJoe Glossop travaille 'The Girl from Ipanema' à l'orgue Hammond, en utilisant deux timbres contrastés pour le couplet et le refrain.
Le contenu du cours
45 leçons (3h 0min) · 1 gratuites
01. Interprétation : 'Green Onions' de Booker T
3:01
02. Sonorités : 'Green Onions' Booker T
3:08
03. Jouer le morceau : 'Green Onions' de Booker T
8:21
04. Lignes mélodiques : 'Green Onions' Booker T
4:43
05. Ligne de basse : 'Green Onions' Booker T
2:01
06. Interprétation : Jimmy McGriff - All About My Girl
3:43
07. Interprétation vue clavier : Jimmy McGriff - All About My Girl
3:43
08. Sonorités : 'All About My Girl' - Jimmy McGriff
4:01
09. Intro : 'All About My Girl' - Jimmy McGriff
2:10
10. Jouer le thème : 'All About My Girl' - Jimmy McGriff
2:58
11. Ligne de basse : 'All About My Girl' - Jimmy McGriff
1:52
12. Fin : 'All About My Girl' - Jimmy McGriff
1:51
13. Improvisation et comping : 'All About My Girl' - Jimmy McGriff
4:38
01. A Change is Gonna Come' - Sam Cooke
7:46
02. Vue du clavier : 'A Change is Gonna Come' - Sam Cooke
1:20
03. La La means I love you' - Booker T
5:39
04. Vue du clavier : 'La La means I love you' - Booker T
2:25
05. Groovin' Booker T & the MGs
4:57
06. Vue du clavier : 'Groovin' ' - Booker T & the MGs
1:15
07. Time is Tight' - Booker T & the MGs
5:31
08. Vue du clavier : 'Time is Tight' - Booker T & the MGs
1:39
09. 'The Girl from Ipanema' - Antonio Carlos Jobim
Tu es ici6:17
10. Vue du clavier : ‘The Girl from Ipanema’ - Antonio Carlos Jobim
2:36
11. Blues basé sur 'Blue Bash' - Jimmy Smith
7:59
12. Vue du clavier : blues d'après 'Blue Bash' - Jimmy Smith
3:24
13. Walk on the Wild Side' jam sur la M series - Jimmy Smith
6:44
Transcription de la leçon
Music Lesson: The Girl From Ipanema
This is a little version of The Girl From Ipanema, so you've probably heard it. It's a kind of interpretation inspired by Richard Groove Holmes from a live album. I really like how it uses two very different tones for the two sections of the song.
Tones in the Tune
Let's go into detail about the tones in this tune.
Lower Tone
- On the bottom, we've got the same kind of pad tone that we've used a couple of other times.
- He probably would have been playing with a band, providing more of a bass line.
- In that context, he would have been playing pedals, not so much a pad.
- For this context, it works quite well.
Top Tone
On the top, we have:
- The third harmonic percussion setting.
- This jazz tone is very responsive and chunky.
When he moves into the chorus, it transitions to a very different tone.
- Leslie Vibrato: Flips the Leslie to fast and plays in a broad, glissando way.
- The voicing of chords is very big.
- He uses the Leslie quite a lot; you could try pulling a bit of that out for a different feel.
Gospel Feel
This shift gives a very different, gospel-like feel to the section.
- If you were doing a bass line, you could try doing that with one hand.
- It won't feel quite the same, but you can just about manage it.
Achieving the Right Sound
One way of achieving that sound is by pulling the phrasing back a bit.
- This gives you more room to slide into that new shape without catching too many other notes.
- Be aware of the very light action; it's easy to catch another note accidentally.
- Often, that doesn't matter too much as long as it feels right.
Tips for Sliding Up
- You'll only catch maybe the first couple of contacts, so it's not going to be a disaster.
- Pulling the phrasing back as you slide up can help.
- Spread it out as you go along, rather than forcing it.
Additionally, I pulled a little bit of that drawbar, which adds some mid-range richness to it.
Conclusion
And there you have the main tones of the tune. Good luck!
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Joe Glossop est un claviériste de Sheffield qui s'est fait un nom à l'orgue Hammond. Il occupe actuellement le poste d'organiste dans le groupe de tournée de Tom Jones, et a joué avec Van Morrison et James Hunter, ainsi qu'au piano et au Rhodes. Ses cours permettent de tirer le véritable son Hammond de n'importe quel clavier : le réglage des drawbars, le Leslie, la basse walking à la main gauche, et le vocabulaire d'accompagnement et de solo des traditions de l'orgue soul-jazz, blues et rock, de Jimmy Smith à Booker T.
