Kenny Barron - Transcription - There Will Never Be Another You

www.BijanJazz.com
Transcription of Kenny Barron's solo on There Will Never Be Another You.
I do not own the rights to the recording.
I have a full video analysis of this Kenny Barron transcription in my lesson library for my private correspondence students. Read more about my personalized correspondence lessons at: www.bijantaghavi.com/personali...
To come on board email me at [e-mail] we could set up a free zoom meeting/lesson assessment and I can tell you all about it.
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I have had some ask me about how they can support the channel, this is not at all expected but I have provided links below to PayPal or Venmo where you can donate. I appreciate your support! 🙏
PAYPAL: www.paypal.me/bijanjazz
VENMO: www.venmo.com/BijanTaghavi

[@BijanTaghavi]

Thanks everybody for the likes and kind comments! I have a full video analysis of this Kenny Barron transcription in my lesson library for my private correspondence students. Read more about my personalized correspondence lessons at: www.bijantaghavi.com/personalized-correspondence.html To come on board email me at [e-mail] we could set up a free zoom meeting/lesson assessment and I can answer any questions you may have about the process!

[@marco6284]

Thanks for the transcription! This is one of my favourite solos of Kenny Barron. So short but so strong!

[@plouf1969]

Thanks so much for doing this transcription. There are so many little jewels in this solo, I feel like a budding musician in a 251 store :-)

[@6StringsTheory]

This is such a gift I can’t even believe it. The time it takes to transcribe this and just give it to the world is almost unreal. Thank you and God bless you

[@BijanTaghavi]

@Jazz Guitar College: thanks so much for your amazing comment. Your appreciation is what keeps me going and I'm so glad you enjoyed this! Stay tuned here for more!

[@6StringsTheory]

@@BijanTaghavi Oh you’re quite welcome my friend. You are definitely going to be a well-known in the Jazz circles if you keep transcribing these great solos. Look forward to the next one. Also how do I support your channel?

[@BijanTaghavi]

@@6StringsTheory thank you! Here are links below to support the channel - not at all expected, but I appreciate your support! 🙏 PAYPAL: www.paypal.me/bijanjazz VENMO: www.venmo.com/BijanTaghavi

[@tore128]

I've seen other channels have a "tip jar". Easier than Pay Pal. In anyways: thanks alot - legendary phrase at 0:47

[@ganjarulez009]

His rhythm is insane

[@DaveLynchJazzGuitar]

Beautiful...

[@dickiebobradio1304]

Great job. Thanks for providing the left hand.

[@richardsorice4509]

Great transcribing of a brilliant solo of a great tune!! Ppl

[@BijanTaghavi]

Thanks, Richard! It's a great one, albeit short but jam packed with so much good stuff in there. In fact all the soloists on this track are amazing, Kenny Garrett and Woody Shaw.

[@frankdambra]

Thank you Bijan!

[@kostkaguitar]

Unbelievably Good ❤

[@angelocerrato2518]

bravo, very useful . nice.

[@federicoselles5649]

awesome! thanks!

[@rafaelortsespadero4870]

Muchas Gracias !!!

[@foresterday6050]

Yeah Bijan!!!

[@kankan7940]

Congratulations Bijan...The sheet music is good

[@BijanTaghavi]

Thank you for the comment, Kan Kan!

[@BijanTaghavi]

EDIT: I made the edit in the PDF, but it is still wrong in the video - the last 4 eighth notes in measure 2 should be D Db C Bb (not D C Bb A). Sorry!

[@jasonparkpianist]

I purchased the PDF but it is still wrong

[@BijanTaghavi]

@@jasonparkpianist Hi Jason: the link is now updated with the edited PDF and I emailed you the edited PDF. Thanks for letting me know about this. -Bijan

[@etibarardabili9284]

Thanks Bijan

[@BijanTaghavi]

My pleasure!

[@pnojazz]

great transcription Bijan! thank you

[@BijanTaghavi]

My pleasure, glad you enjoyed it!

[@plouf1969]

I think Measure 6 last note should be a C, not Eb Measure 7 last note should be Db (it's implied by the lower Db but accidentals normally do not apply to other octaves)

[@michaelfuria4257]

I am thrilled there are no L.H. 10th stretches. Please do more of these for pianists like me with smaller hands...

[@jacobzimmermann59]

Interestingly, the 10th stretches are actually 10% hand size and 90% practice. Michel Petrucciani had small hands, short arms, short legs that couldn't reach the pedals without a special mechanical device, and yet his playing was nothing short of magnificent - including the 10ths. Erroll Garner reportedly could just reach an octave, and that also didn't stop him from using 10ths quite a lot. Dick Hyman is another one, etc.

[@UkuleleAversion]

@@jacobzimmermann59 Huh... What do you have to practice to get those 10ths and 11ths then? I can grab all LH major 10ths except in Ab, Bb, Db and Eb.

[@jacobzimmermann59]

@@UkuleleAversion I can't do 11ths (except as arpeggios). Major 10ths with a white and black key (like Ab-C) are just over my normal stretch but with some warm up I can do them. It's hard to describe, there is a kind of hand flexion that does the trick. I don't have a fool proof method to practice either, but what works for me as a regular drill is to always start with rolling, preferably with 3 or 4 notes chords in the bass and in a relaxed pace. For example I suggest you first play Blue Moon, a slow, lyrical, ballad version of Tea for Two, or something like Lonesome Reverie (with rich, 10th chords in the left hand). After a couple of those numbers, do some of the Art Tatum-style walking tenths, again starting in a slow or medium-tempo - Sweet Lorraine or Ain't Misbehavin are perfect for this. With your hand warmed up, you will see that in those chromatic walks the rolled chords will start blending together and really sound as one, obviously it's unlikely you will get that immediately or even quickly (it took me a while but maybe you'll be luckier ;) ) When you get there, the next stage is to play a fast-ish stride piece in a key like Db, Eb, Ab, or Bb where you will have to stretch the black-white tenths - you can try Dinah, Lulu's Back In Town, The Fruit played as stride, etc... you get the idea. Stride is the key, because it will force your left hand to stretch and shrink all the time. When that feels comfortable enough (it eventually will), try Handful of Keys in full tempo in a similar key (Fats Waller's default F will feel like a piece of cake at that stage). Handful of Keys is an ideal piece for that because there are few chord changes so you will develop muscle memory for the right positions. When you can play it cleanly on autopilot mode (not that I would ever recommend doing an autopilot performance, but we're talking practice), play it in another key, rinse and repeat until your left hand can automatically and quickly reach out to the tenths in any position you need it to. It will take lots of patience but it works.

[@charlesperforms]

@@UkuleleAversion there's a trick for the Bb and Eb which is to make the thumb play the 9th and the 10th at the same time

[@UkuleleAversion]

@@charlesperforms I already use that and it isn't always viable since sometimes playing root seventh third just sounds better.

[@dickiebobradio1304]

I think there is a mistake in the first bar. The last four eighth notes are: D Db C Bb

[@UkuleleAversion]

Hi, Bijan, impressive work. Do you adjust the EQ or switch headphone channels when you can't hear LH chords well? I've been transcribing a piano solo where the ride cymbal and bass sometimes obscure the LH voicings and it's been bugging.

[@BijanTaghavi]

Thanks, Tom! As to your question I don't play around with EQ or anything (although perhaps I should 😂), but a lot of times that can happen in a group setting where the piano chords will be muffled because of the drums in particular. Part of it for me is knowing Kenny's playing very well, I can make certain assumptions of voicings I know that he likes to go to in certain settings. And then you can guess and check - play it with the recording and see if it matches up. But you can also make certain assumptions of voicings in general - although I do have perfect pitch, hearing chords is not a matter of plucking out every particular note. Hearing chords uses more of a relative pitch philosophy of hearing the general sound - if it's a maj7 chord with the 7th on the bottom for example, you can assume that it's a couple of the standard voicing options (for ex: Fmaj7 = EGAB, or EAD if it's a 4ths kind of thing). I hope this helps!

[@kevinwnek594]

is there an updated version with corrections?

[@BijanTaghavi]

Hi Kevin: see my below comment. The PDF download from the website is updated with the edits.

[@paxwallacejazz]

Damn that bass player is really swinging .

[@liammcelroy2265]

​@Ranthony Jones not what he meant man

[@toanminh3828]



[@user-qz6ku1st7y]

0:05

[@user-qz6ku1st7y]

0:54

[@happywheels2272]

Can u guys describe what's the happen of bars 38 and 39?

[@mattmustapick4062]

Seems to me like he’s outlining Am and D.

[@julianbelray5032]

Sounds a bit more like he adds half a bar of Bm as a nice passing chord between Cm and Bflat m and then sticks with that Bm pentatonic sound to play outside the changes

[@srrlIdl]

0:16 the lick

[@alessandrobasile9215]

It seems Ornithology by Charlie Parker

[@srrlIdl]

You're right! No clue why I said 'the lick' then.

[@marcoevans2155]

@@srrlIdllol, kinda brutal there

[@artistaFrustado9000]

Why this remind Mystic Messenger?

[@nezkeys79]

0:50 that B natural tho lol

[@BijanTaghavi]

Right? Only he can place it there and make it sound amazing! ;)

[@nezkeys79]

@@BijanTaghavi it's more how he just keeps playing that phrase over every chord lol. It's so out at times but hilarious

[@vova47]

Barron solo starts at 0:06

[@nezkeys79]

Yeah fk the sax and drums? Loooool

[@skyfire8950]

0:37 - the l i c c

[@juanalvarado4723]

0:05