Oleo thoughts

[BigOldHarry]

So I'm in this new band, and the guitarist wants to do a side thing with realbook tunes - I'm all for that, since it would be a fine learning experience.

The first tune he wants to do is Oleo, which is a *fairly* blazing piece of music. I went to REALBOOK.US to eyeball the chart - and the changes look pretty straight forward...

But the recordings I have of it just RIPS so damn fast it's hard to hear...

I'm open to any suggestions from folks who know/play this fine tune - keeping in mind that I'm still a learner when it comes to walking/running bass parts

thanks!

[Stumbo]

Maybe find another tune to start with while your working on that tune.

[VroomVroom]

Have fun with it! "Rhythm Changes" might be a good search tool - not only here, but across the 'net. It's a great melody as well...nice technical challenge to learn and get under your fingers.

Here's a fun hint, if it has any value. Remember the theme to The Flintstones? Same changes. Enjoy...

[BigOldHarry]

Originally Posted by VroomVroom

Here's a fun hint, if it has any value. Remember the theme to The Flintstones? Same changes. Enjoy...

No kidding. Who know?

[Ed Fuqua]

Not to put too fine a point on it, but you kinda need to be at a place that you can hear that the changes to this are the same as the changes to ANTHROPOLOGY or MOOSE THE MOOCHE or I GOT or FLINTSTONES or any of the multitude of other tunes that use the same harmonic framework.

Cause it's not like you're playing the bass part to OLEO (like you'd play the bass part to SMOKE ON THE WATER); you're playing a line based on the chord changes that responds to what the other musicians are playing.

It's like driving from San Diego to LA, if you are from around that area there's a buncha ways you can go depending on whether you want to get there the fastest or take the most scenic route or route that is longer but has less traffic or that takes you through the mountains or whatever. But if this is the first time you are behind the wheel of a car, well you see where I'm going...

[BigOldHarry]

Originally Posted by Ed Fuqua

Not to put too fine a point on it, but you kinda need to be at a place that you can hear that the changes to this are the same as the changes to ANTHROPOLOGY or MOOSE THE MOOCHE or I GOT or FLINTSTONES or any of the multitude of other tunes that use the same harmonic framework.

Cause it's not like you're playing the bass part to OLEO (like you'd play the bass part to SMOKE ON THE WATER); you're playing a line based on the chord changes that responds to what the other musicians are playing.

It's like driving from San Diego to LA, if you are from around that area there's a buncha ways you can go depending on whether you want to get there the fastest or take the most scenic route or route that is longer but has less traffic or that takes you through the mountains or whatever. But if this is the first time you are behind the wheel of a car, well you see where I'm going...

I get what you're saying - I know there are "no bass parts", as such, in jazz like this - it's an approach, not a part, so I'm not asking for someone to tell me "what to play" - just some suggestions as to approach - and I'm getting them.

thx

[Corporate Boy]

There has to be a a Jamie Aebersold book on Rhythmn changes. That would be a good place to build a foundation. Start slow and focus on how the chords naturally progress.

[Ed Fuqua]

OK.
Good luck with that.

[Kobaia]

songs that have a blazing pace, its generaly good to find a pattern that you can just grab really quick.

they way i've walked that tune is put the Bb on the E string under you pinky.

now you have Bb G C F as you main progression.

so |Bb-A-G-Bb|C-G-F-A|
repeat that. then
|Bb7|Eb7| a bar a piece

then go up for the high |Bb-A-G-F|Eb-C-G-A|

there is your A section. repeat that then the bridge is a cake walk

good luck

[BigOldHarry]

Originally Posted by Kobaia

songs that have a blazing pace, its generaly good to find a pattern that you can just grab really quick.

they way i've walked that tune is put the Bb on the E string under you pinky.

now you have Bb G C F as you main progression.

so |Bb-A-G-Bb|C-G-F-A|
repeat that. then
|Bb7|Eb7| a bar a piece

then go up for the high |Bb-A-G-F|Eb-C-G-A|

there is your A section. repeat that then the bridge is a cake walk

good luck

Okay, not to sound like a complete dim-bulb here, but the pattern you describe - is that not a Bb7 pattern to begin with (thus making the Bb7 after it redundant) - or am I missing something?

thx

[RHFusillo]

This reminds me of a pianist acquaintance of mine in NY who was in a hospital and had room 1625. He wrote a letter to the hospital administrators requesting a hipper room number.

[BigOldHarry]

Originally Posted by RHFusillo

This reminds me of a pianist acquaintance of mine in NY who was in a hospital and had room 1625. He wrote a letter to the hospital administrators requesting a hipper room number.

at least it wasn't room 145...

[synaesthesia]

Get the Aebersold Rhythm changes vol. 47 , or any book on the same subject - learn the substitutions well, because they can give you all the variance you need in walking the changes.

This site might be useful too:
http://people.uncw.edu/russellr/rhythm.html

[IconBasser]

Originally Posted by VroomVroom

Here's a fun hint, if it has any value. Remember the theme to The Flintstones? Same changes. Enjoy...

YEP! when I used to play that song, my guitarist would play the flintstones theme right in the middle of his solo. It actually worked beautifully!

[Kobaia]

Originally Posted by BigOldHarry

Okay, not to sound like a complete dim-bulb here, but the pattern you describe - is that not a Bb7 pattern to begin with (thus making the Bb7 after it redundant) - or am I missing something?

thx

the A is a Major 7th of Bb. so its BbMaj7 to G7 to A-7 to F7

then there is a 2-5 of I into the 2-5 of IV so its basicaly I IV or Bb Eb


what ever thats the way i think of it

[Pacman]

Originally Posted by Kobaia

the A is a Major 7th of Bb. so its BbMaj7 to G7 to A-7 to F7

then there is a 2-5 of I into the 2-5 of IV so its basicaly I IV or Bb Eb

No, it's Bbmaj7 to Gm7 to Am7 to F7. That's a I-vi-ii-V for those keeping score at home.

[Kobaia]

Originally Posted by Pacman

No, it's Bbmaj7 to Gm7 to Am7 to F7. That's a I-vi-ii-V for those keeping score at home.

the Changes are G7. I'm adding a #9 tension on it which is diatonic to the chord that would naturally fall on the VI- chord in the key of Bb. so its is a G7(#9).

you know for those keeping score at home

[Pacman]

Originally Posted by Kobaia

the Changes are G7. I'm adding a #9 tension on it which is diatonic to the chord that would naturally fall on the VI- chord in the key of Bb. so its is a G7(#9).

you know for those keeping score at home

I don't know where you're getting your changes, but a 1-vi-ii-V is far more common for Rhythm changes...

[Kobaia]

Originally Posted by Pacman

I don't know where you're getting your changes, but a 1-vi-ii-V is far more common for Rhythm changes...

I'm fairly sure its V7/II- in the Realbook

[Erick Lam]

G7 is common in rythm changes. Then you can walk (2 beats per notes): Bb B C F. The B being the 3rd of G7.