onacarom! I've got a request for you, and I really like taking requests.
I see what you're saying about turnarounds, and for me,
that's traditional turnarounds, and I'll admit it,
that's a big weakness for me, mostly knowing what you mean.
I'm working out "Misty" by Erroll Garner with a friend, in E#maj7.
He's an old high school friend now living in British Columbia, an online thing.
When I was an usher at the show in high school,
they played a short between the movies,
and one of them was Erroll Garner playing Misty on a Hammond B3.
He looked older and chubby there.
That was about a walking bass and a walking line through the chords,
as only a Hammond B3 player, or organist with foot pedals, can get into that deep.
When it gets to the last line, say, "I get misty just holding your hand", I, uh, mist it.
I'm playing Emaj7, to C#min7 to F#min7, and it really isn't a chord after that,
going into a turnaround that I can't remember from the show.
When I saw it on YouTube last week, he's young and playing piano,
and he has to be one of the best pianists I've ever heard.
But that was playing like a great classical and great jazz pianist combined,
no walking chords or bass.
I like how he makes it look casual, even looking around to look into the camera,
but then you see him starting to sweat.
Hey! You know I've been commenting on you a lot,
so let me show you what this pro player writes out to scan and send,
and if you think that's rough,
here's a letter from one of the first major solid-body electric guitar builders.
The red dots are root notes, and the green are walking notes on the D string.
Can you play a C formation barre chord in minor and within on the D string,
walk four frets? I can. That's a Jimi Hendrix chord formation for me,
and it's really easy to play upside-down with the bass strings on the bottom.
My first Emaj7 for the verse is a G chord formation at the fourth fret,
having the bass B held, that stays there as you move up to Bmin.
I try not to hit the high E string, but it's in harmony.