A-side label of the U.S. Vinyl single by ' Released April Format, Recorded March 17, 1958 Length 1: 52 6116,, singles chronology 'Gee, Golly' (1958) ' Yakety Yak' (1958) 'The Shadow Knows' (1958) 'Gee, Golly' (1958) 'Yakety Yak' (1958) 'The Shadow Knows' (1958) ' Yakety Yak' is a song written, produced, and arranged by for and released on in, spending seven weeks as #1 on and a week as on the. This song was one of a string of singles released by The Coasters between 1957 and 1959 that dominated the charts, one of the biggest performing acts of the era. Top R&B/Hip-Hop Singles: 1942-2004. Record Research. Rock Hall of Fame.

Archived from on 2006-10-17. Retrieved 2006-11-08. • Anthony DeCurtis, & James Henke (eds) (1980). The RollingStone: The Definitive History of the Most Important Artists and Their Music ((3rd Ed.) ed.). New York, N.Y.: Random House, Inc.

Dec 13, 2007. I've noticed that Autumn Leaves is the subject of many a beginner studies, so I figured I'd start with it. Since the Carr article and Mastering Mandolin used the exact same chords I figured that there might be some type of reasoning or substitution principle. Any idea why we can't attach PDFs to a post? Using drop 2 voicings on guitar, you can play a sophisticated chord melody arrangement of the first 16 Bars. The “real book” lead sheet of Autumn leaves: Autumn Leaves Real Book. Autumn Leaves is also often played in the key of G minor, so it is important to learn it in this key also: Autumn Leaves Chords in G Minor.

CS1 maint: Extra text: authors list () • Matos, Michaelangelo (April 13, 2005).. Seattle Weekly. Retrieved 2006-11-08.

• Friedlander, Paul (1996). Rock and Roll: A social history. Boulder, CO: Westview Press (Harper Collins). • interviewed on the (1969) • Retrieved February 6, 2015 •.

Houston Press, June 30, 2005. Retrieved 2009-03-13. January 12, 2011. Take It Back Foundation. Retrieved 2012-02-08. Retrieved 2016-11-02. External links [ ] •.

• The Coasters' Greatest Hits • Greatest Hits • That Is Rock & Roll • All Time Greatest Hits • Their Greatest Recordings: The Early Years • The Coasters On Broadway • This Is the Coasters • The World Famous Coasters • 20 Great Originals • 16 Greatest Hits • What Is the Secret of Your Success? • Young Blood • The Ultimate Coasters • 20 Greatest Hits • The Greatest Hits • 50 Coastin' Classics: Anthology • The Very Best of the Coasters • Golden Hits • Great • Yakety Yak & Other Favorites • All Our Best • The Best of the Coasters • Yakety Yak: The Platinum Collection • The Definitive Soul: The Coasters • There's a Riot Goin' On: The Coasters on Atco • Only the Best of the Coasters Singles. • 'Turtle Dovin' • ' • ' • '(When She Wants Good Lovin´) My Baby Comes To Me' • 'What Is The Secret Of Your Success?'

• ' • 'Sorry But I'm Gonna Have To Pass' • ' • 'That Is Rock & Roll' • 'I'm A Hog For You' • 'Run Red Run' • ' • 'Stewball' • 'The Snake And The Book Worm' • 'Thumbin´ A Ride' • 'Keep On Rolling' • 'Girls Girls Girls (Part II)' • 'Bad Blood' • 'Teach Me How To Shimmy' • 'The Climb (instrumental)' • 'Bull Tick Waltz' • 'Speedo's Back In Town' • ' • 'I Must Be Dreaming' • 'Hongry' • ' • 'Bell Bottom Slacks And A Chinese Kimono (She's My Little Spodee-O)' • ' • 'Down Home Girl' • 'Everybody's Woman' • 'The World Is Changing' • 'Talkin´ ´Bout A Woman' Cover songs.

I'm just getting into learning some jazz standards. I've noticed that Autumn Leaves is the subject of many a beginner studies, so I figured I'd start with it. I'm working with the Real Book version, the two great articles in Mandolin Magazine Fall 2001 and the improvisation section of Mastering Mandolin. Each source provides a different 'view' of the tune. Doctrine Of The Knowledge Of God Pdf Merge on this page.

As I began to analyze the structure, it's pretty obvious why it's selected as a beginning tune. It's basically a combination of ii-V-I cadences in both major and minor (G/Em). As an education tool, the tune can cover a lot of ground. Anyhow, there is a section in the B part that I'm confused about. The Real Book has these chords: Em7 A7 D7 G7 F#m7-5 Don's article just camps on Em for 2 measures, that makes sense: Em Em F#m7-5 Joe Carr's article and Mastering Mandolin use these chords: Em7 Eb7 Dm7 Db7 Cmaj7 Since the Carr article and Mastering Mandolin used the exact same chords I figured that there might be some type of reasoning or substitution principle behind this. Don.if you are reading this you asked for other F#m7-5 voicings. It may be 6 years past due, but I'm using 223- instead of 579.

It's probably an octave lower and may not work everywhere, but the grip is easy to jump on. I also would put a lot fo emphasis on listening to different versions from the masters.

For example, I have a version by Stephan Grapelli and Grisman, and a version from Miles davis. They are very different, but eqaully phenomenal.

Grapelli's and Grisman's is a little quicker and more forceful, but Grapelli is just incomparable. Listen to that guy and it's really unbelievable how wonderful a player he is. Davis's is 'cool,' as he is so well known for.

It utilizes the melody, but it's straight up late night, mystical jazz. He utilizes the spaces, and the parts add up to a tremendous sum. The contrast between the two helped me understand the song pretty well, in my estimation. It also helped me understand that I was getting caught up in the Grapelli version at first. Fiddle stuff and mandolin stuff makes me want to be overly precise, and it makes me want to mimic people. However, listening to Davis made me understand it's about the whole group, not just the mandolin.

It's hard to know how to play something until the people around you are playing it as well. Also, it can't come out the same twice.

The banjo player in my group faces this challenge sometimes. He wants to play 'a solo,' no matter what is happening. When we go to learn a new tune, he'll say, 'I can play this one solo off of a certain CD.' The problem with that approach is - and he's even mentioned this to me - if you make one little mistake you have to spend time figuring out where the heck you are. Here's a of the basic changes. Fujitsu Scansnap S1500 Driver Windows 7 64 Bit. Depending on the arrangement the Em7 may be communicated with an Em or Em9 or the substitutions that I mentioned earlier.

I 'flattened' it out a bit in order to simplify things so I could attempt to build some lines. The assumption being that a line developed for the straight chords would flow well over the substitutions. I'm not sure if that's the case, but that's what I'm going with at the moment.

I included the appropriate FFcP forms for each chord. The forms cover first and third position. The lighter dots are chords tones (1-3-5-7-1). So what am I doing with all this? I've downloaded Ted's and.

I also printed his Mandolin Sessions article on. The tune structure and these lessons seems to be a good combination. This is enough material to keep me busy (and productive) for a while. My end goal is to be able to construct two or three different lines. I'll probably work on Don's chord melody arrangement from Mandolin Magazine Fall 2001.

I'm curious to see how that will sit against some accompaniment. -- Any idea why we can't attach PDFs to a post? This might work better.

The one you posted didn't work for me. I guess my goal is slightly more academic than just trying to solo over the changes. I'm just getting into this and I'm trying to learn the 'how and why' aspects of improvisation. I have a computer background, so I tend to gravitate towards the logical aspects of how things work. A framework so to speak. That being said, I've posted an audio file that I'm hoping to practice against.

It plays through the tune 4 times: 1) Head (sax) with accompaniment 2) Just accompaniment 3) Sax solo with accompaniment 4) Just accompaniment (2 bar ending) The accompaniment is just drums, bass and light piano comping. The style changes slightly between the A and B parts, that seems to help me keep my place if I get totally lost.LOL. The tempo is set at 120bpm. I used the changes and head from the Real Book.

I also would put a lot fo emphasis on listening to different versions from the masters. For example, I have a version by Stephan Grapelli and Grisman, and a version from Miles davis. They are very different, but eqaully phenomenal. Grapelli's and Grisman's is a little quicker and more forceful, but Grapelli is just incomparable. Listen to that guy and it's really unbelievable how wonderful a player he is. Davis's is 'cool,' as he is so well known for. It utilizes the melody, but it's straight up late night, mystical jazz.

He utilizes the spaces, and the parts add up to a tremendous sum. The contrast between the two helped me understand the song pretty well, in my estimation. It also helped me understand that I was getting caught up in the Grapelli version at first. Fiddle stuff and mandolin stuff makes me want to be overly precise, and it makes me want to mimic people. However, listening to Davis made me understand it's about the whole group, not just the mandolin. It's hard to know how to play something until the people around you are playing it as well. Also, it can't come out the same twice.

The banjo player in my group faces this challenge sometimes. He wants to play 'a solo,' no matter what is happening. When we go to learn a new tune, he'll say, 'I can play this one solo off of a certain CD.' The problem with that approach is - and he's even mentioned this to me - if you make one little mistake you have to spend time figuring out where the heck you are.Miles Davis recorded that tune many times with his quintet, or some abstraction of it. That was his way of treating standards in the mid-'60s. Funny Valentine is virtually reduced to the two keys c minor and E flat with a few distorted references to the melody. However, the 1964 version is a brilliant display of group interaction.

He also recorded a slow version with Cannonball Adderly, for Blue Note. For some reason he stresses the major sixth against the minor chord, very deliberately, in several places.