Author Archives: tgcleary

‘Making the changes’ on short forms, part 1: Liza Jane

‘Liza Jane’ is a North American folk tune that is a standard in the repertoire of New Orleans jazz.  It has been performed by musicians from pianist Ramsey Lewis to trumpeter Wynton Marsalis.  It is an example of the strong … Continue reading

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‘Making the changes’ on short forms, part 2: Polly Wolly Doodle (a musical cousin of Iko Iko)

I was going to make this a post about the New Orleans standard tune ‘Iko Iko’, but then realized it is a copyrighted tune, so I decided to go with ‘Polly Wolly Doodle’, which uses the same chord progression and … Continue reading

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‘Making the changes’ on short forms, Part 3: When The Saints Go Marching In

This arrangement is inspired by Louis Armstrong’s 1938 version of the tune.  It can be practiced along with that recording by listening to the spoken introduction (in which Armstrong introduces himself as ‘Reverend Satchmo’), counting through the trombone statement of … Continue reading

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Terry Town Line (or, could I write a countermelody about Clark Terry?)

‘Terry Town Line’ is a bop line I composed based on the changes to ‘I Could Write A Book’ by Richard Rodgers and Lorenz Hart.  The tune is dedicated in part to my mother, Roddy O’Neil Cleary, who for a … Continue reading

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Talking and taking the words away: a visit from Stefon Harris (The State of the Blues, Part 2)

In a recent master class with my students at UVM, Stefon Harris talked about the connection between language and melody in an improvised solo.  While discussing the performance of a student group, he said: ‘The details of rhythm are connected … Continue reading

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Harmonic Moss, Part 5: The ‘B’ form voicing of the minor ii-V-i progression

The voicing which Phil Degreg calls the ‘B form’ of the minor ii V i progression starts with a clear demonstration of why Thelonious Monk referred to the minor 7 flat five chord as a ‘minor sixth chord with the … Continue reading

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Harmonic Moss, Part 4: the ‘A’ form voicing of the minor ii-V-i progression

The previous posts in the ‘Harmonic Moss’ series dealt with various voicings, scale outlines and various melodic patterns for the major ii-V-I progression. Although I have another post, ‘What Is This Scale Called?’, which deals with scale choices over the … Continue reading

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Harmonic Moss, Part 3: Route 37, a voicing-based melodic line

This melody line  combines patterns from the posts on one-bar ii-V progressions (‘Give it up for the root (position pattern)s‘ and ‘Midnight Donna and Reets in Paris‘)  and with those introduced in the posts on longer ii-V-I patterns (Harmonic Moss … Continue reading

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Simple Paris Dancers: a bop-style rhythm changes

‘Simple Paris Dancers’ is a through-composed bebop-style melody line on the ‘Rhythm Changes’ progression. ‘Rhythm Changes’ refers to the chord changes from the George and Ira Gershwin tune ‘I Got Rhythm’, which has been used by jazz players in many … Continue reading

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Everybody's Inside Blues: 'making the changes' in a blues line

‘Everybody’s Inside Blues’ is a through-composed melody line on the twelve-bar ‘jazz blues’ progression.  A concert chart for the tune is below; here’s a link to a recording of it from a gig I played with guitarist Steve Blair and … Continue reading

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