Hi, everyone. i'm wondering if someone can help me with the chord progression in Little Walter's "Fast Large One". it doesn't sound like a "V IV I" to me, but i dont have the ears or knowledge to pick what it is. Thank you,
Fast Large One is actually a very sped up version of a tune called Let Me Off Uptown by Gene Krupa featuring Anita O'Day on vocals and Roy Eldridge on trumpet and here's that tune and so you may be able to hear things more clearly:
---------- Sincerely, Barbeque Bob Maglinte Boston, MA http://www.barbequebob.com CD available at http://www.cdbaby.com/cd/bbmaglinte
Listen to the bass .. bass outlines the changes...if you play this song in the key of "D", starting with the 9th bar, the bass is playing "E,F#,G,G#,/ A,G,F#,E, / D,F#,A,B,/ D,B,A,F#".
If each bar consists of 4 quarter notes (on the bass), this would "spell out" to be E- (ii chord) for bar 9, A7 (V chord) for bar 10, ending on D (the I chord) for bars 11 and 12. ---------- The Iceman
Last Edited by The Iceman on Feb 10, 2019 10:54 AM
The 2-5 change is very commonly used as a substitute for the 5-4 change and LW recorded quite a few tunes with that, especially when the guitar player in his band was Robert Jr. Lockwood. Two examples are here below:
Too often, harp players just listen to the soloing and don't pay attention much else beyond that and the dead give away here is to NOT listen to the harp or any other lead instrument but the bass line itself.
The harp solo in My Babe is a 12 bar using the 2-5 change instead of a 5-4 change. ---------- Sincerely, Barbeque Bob Maglinte Boston, MA http://www.barbequebob.com CD available at http://www.cdbaby.com/cd/bbmaglinte
I love having the band drop out aside from the bass (and drummer IF they are in locked in mode) during a harmonica solo - all the relaxed room in the world to explore ideas without bumping into a wall of mid range. ---------- The Iceman
I am fairly new on the chromatic, in a way...I’ve had one a long time and studied it some, can play it tongue blocked and get a few tunes out of it, have worked through Barrett’s introductory 3rd position lesson and worked out how to moved around the 3rd position minor plus flat 5th, and generally skip over the 4 hole.
But this number is a real education for me.
I believe this comes from the first recording session where Walter used a chromatic harp; the same session as That’s It and Lights Out (and some great records where he played diatonic, like Blues with a Feeling, 1/4 to 12, You’re So Fine, Fast Boogie). As is often the case, it was not apparent to me just how neat it is until I sat down to study it, phrase by phrase. My buddies must think I’m such a square for liking this stuff...that’s too bad because I really do!
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