#the jazz standards progression book

[ajrdileva]

Unlocking the Magic of Jobim's Harmony: A Step-by-Step Guide to 'The Girl From Ipanema' Jazz Harmony Lesson

Welcome to this jazz tutorial on Jobim’s timeless classic, The Girl From Ipanema. Let’s take a closer look at the intricate harmony of this song. In this video we’ll see how Jobim’s use of out-of-the-ordinary dominant chords is simply brilliant. It’s no wonder why Jobim is known for pushing the boundaries of traditional harmony, always keeping us on our toes with unexpected but stunning chord…

[jazzstandardspoll]

Descriptions & Propaganda

Dream A Little Dream Of Me

Composed by Fabian Andre and Wilbur Schwandt, with lyrics by Gus Kahn

Notable versions: Louis Armstrong and Ella Fitzgerald (x), Doris Day (x), The Mamas & The Papas (x)

Propaganda: None submitted.

St. James' Infirmary

Traditional

Notable versions: Louis Armstrong (x), Cab Calloway (x), Artie Shaw (x)

Propaganda:

i love how this song starts as a lament and then switches on a dime to such a cool, proud, almost bragging defiance of death. and of course that trumpet!! that trombone!!

imo this song exemplifies the rich tapestry of popular music and the links between the jazz standards, the blues, and the english, irish, and appalachian folk traditions. people sort of fight over whether this song is influenced by the unfortunate rake/rakes progress/young trooper cut down in his prime/etc., (musicologist a. l. lloyd’s theory) or not- there’s a whole book about it, “i went down to the st. james infirmary” by robert harwood.

but none of that really matters. if you love the blues and you love folk music this song is like a familiar hug, full of the themes and motifs you recognize but maybe can’t quite pin down. the mysterious origins are part of the fun. extra propaganda: if you know/love/have ever listened to “blind willie mctell” by bob dylan, this song is the father.

i like the way this one sounds but i also think it's historically/anthropologically pretty cool... it's part of the lineage of "the unfortunate rake" which also spawned popular folk songs like "streets of laredo" and possibly "house of the rising sun" (debated among experts but possible), but this one unlike those others was taken up by jazz artists starting in the 1920s and eventually came to be regarded as a jazz standard. fascinating stuff!

[seanhowe]

THE THREE FACES OF CHICO (Warner Brothers, WS 1344) 1959

Chico Hamilton (d), Eric Dolphy (alto sax, bass clarinet, fl), Nate Gershman (cello), Dennis Budimir (g), Wyatt Ruther (b), plus Paul Horn (as), Buddy Collette (ts), Bill Green (bar) & String section.

Los Angeles, February-August, 1959.

Notes by Chico Hamilton

We've called this new album "The Three Faces of Chico" because I play three roles in it. I guess this set may surprise some people. and it even may annoy others. But I hope there's something of real interest in it for every jazz fan.

First of all, I guess I'm best known as a drummer. And that is one of the roles I play here. There are three tracks that are unaccompanied drum solos—Trinkets, Happy Little Dance, and No Speak No English, Man. On each of these I haven't tried to prove anything. but have tried to inject a little humor into some listeners' thoughts.

In regard to these drums tracks. I can only say that it's diffient for a drummer to play anything different than any other average drummer; although each drummer does have his own individual styling. I used the standard equipment I have with me whenever the Quintet takes the stand: two cymbals, sock cymbal, snare drum, tom toms, and bass drum. I didn't use tympani because I'm not a tympanist ... and I just don't carry them around. Instead, I work with sticks. mallets, and brushes to obtain different sound textures.

On Trinkets. for example. I worked eyclusively with brushes. It's a welcome change of sound. For Happy Little Dance, I used mallets throughout. And this one could be danced to, if you dig folk dancing. For No Speak No English, Man. which is a sort of wild thing, I worked with sticks, and played a lot on the rims. I wanted to get a sound like Indian drummers talking to each other.

We did these solos in one take each. I didn' work from a score but laid the sequences out in my mind before we started the tape rolling.

The second face I wear on this set is that of a singer. Now, this is a new thing for me on records, although I've done some singing on the floor with my group, mostly Foggy Day, because that was the one song I knew all the way through.

But having worked with such singers as Lena Horne, Billie Holiday, and Billy Eckstine, I felt I could do it. Actually, what I'm really interested in is phrasing. That's the most effective thing for a singer. That, and good material. I figured that if I was going to sing something, I'd better sing something everyone knows, so they could recognize the tune, if not the melody.

I used a reed section because I wanted to bring back the old Jimmie Lunceford sound with reeds. It's not often you hear a reed section playing ensemble choruses. Gerry Wiggins arranged The Best Things in Life Are Free, and John Anderson scored the other vocal sides: She's Funny That Way, Where or When and I Don't Know Why.

There's not much more to say about my singing, except that I hope you like it.

The third face I wear is that of the leader of the Quintet. My group consists of Wyatt Ruther on bass. Eric Dolphy on flute and reeds. Dennis Budimer on guitar, and Nathan Gershman on cello. Quite frankly, of all the Quintets I've had in the past, I think this one is the swingingest.

On these tracks, you hear a little different Quintet than what you've been used to. The Quintet is four years old and we've been constantly trying to broaden its range. Some may resent the hard swing we're going after, but one thing for sure: in the future we're going to try to please everyone's musical appetite with regard to the Quintet. Music and sounds don't stand still; you have to progress with the people. We play some hard swingers, but in our own intimate way. They're different than the average because of our instrumentation. Our old audiences, we feel, are still satisfied because we play numbers out of our o!d book. Then there are a lot of new people who are following us, and these hard swingers seem to be what they get excited about.

The only way to really broaden the range of the Quintet is by hiring new writers to write for it. In this set, we're introducing three. More Than You Know was arranged by Herb Pilhoffer, a pianist originally from Germany and now located in Minneapolis I think he captures the mood of the song and the Quintet very well Miss Movement is Eric Dolphy's first attempt at writing for the Quintet. Being an exciting player, he'd write an exciting kind of jazz tune. Kenny Dorham is a wonderful trumpet player and he's also a wonderful writer. Newport News is his first chart for our book. It's typical of the inventive, fine arrangements that I'm always grateful to have come my way. Without these, Chico would have no face at all, let alone three!

[dustedmagazine]

Modney — Ascending Primes (Pyroclastic)

Ascending Primes is a number game. Violinist, composer and improviser Modney (née Josh Modney) grew its music from his ongoing interest in the intellectual logic and sensate satisfaction imparted by just intonation (hereafter referred to as JI), a tuning system that favors whole number ratios over the book-cooking compromises of the more widely known equal temperament, which has been the world’s tuning standard since that beautiful sound-culture neutralizer, the piano, made its way around the globe.

Modney found in JI a method that made sense of his instrument; it simply sounded better. But he hasn’t kept the pleasure to himself. The performance units he has assembled for this double album advance in steps dictated by the progression of prime numbers — one, three, five, seven and finally 11 players. His violin, sometimes amplified, is the only instrument to appear in every aggregation. As the ensembles expand and change, so does the music. It is never simple, but neither is it cluttered or unnecessarily busy. Playing alone, the sound of each of Modney’s violin string leaps out, illuminated by the overtones that JI enables and coarsened by liberally applied distortion.

The smaller line-ups are non-standard but exemplify the chamber music aesthetic of exposed interaction between players. At different points Sam Pluta’s electronics and Cory Smythe’s JI-tuned piano disrupt the flow. But as the ensemble’s increase in size and diversity of instrumentation, jazz elements creep in. Ben Lamar Gay’s puckering cornet and Charmaine Lee’s swooping voice adopt jazz-informed, solo voices within the septet, poised atop the multi-directional rhythms of Dan Peck’s tuba and Katie Gentile’s drums. The largest ensemble is also the most inclusive, marshalling hackle-raising strings, gut-rumbling horns, rhythm-opposing clusters, angelic/demonic vocal exchanges and straight-up noise into a sequence of events that seem to be pushing against implacable time-keeping.

There’s a lot of JI music, especially that made by string players, that seems to treat tuning system’s sonorities as ends in themselves, and that’s not necessarily a bad thing. But Modney has taken another tack. Like Anna Webber, who appears in the largest ensemble, he puts the sounds to work alongside the genre elements to create music that is stylistically unlimited and viscerally affecting.

Bill Meyer

[ralphrahsaan]

The Musical Mathematics of Sphere: Thelonious S. Monk

Born October 10, 1917, in Rocky Mount, North Carolina to Thelsious and Barbra Monk, Thelonious S. Monk (1917-1982) composed music, which pushed the limits of musical geometry. According to Monk’s son, Thelonious Jr., his father’s original Christian name included Sphere, which came from Monk’s maternal grandfather, Sphere Batts. “Many authors have chosen to see the musical development of Thelonious Sphere Monk providentially prefigured in the conjunction of his middle and last name: “‘The lonely monk in his own sphere.’” (Fitterling 19-20)

Some authors have discussed the musical complexity, which formed the surface of Monk’s sphere. Mark C. Gridley of Heidelberg College in Tiffin, Ohio mentions in his text, Jazz Styles: History and Analysis, that Monk’s compositions possessed unorthodox melodies with complex chord progressions. In succession with a list of Monk’s highly influential compositions, which became jazz standards (“Straight, No Chaser” and “Well, You Needn’t”), Gridley said:

Monk’s tunes have a logic and symmetry all their own. Unlike the turned of many composers, his [Monk’s compositions] are so perfectly structured and concise that they cannot withstand tampering. Monk was expert at placing accents in irregular order -his “Rhythm-n-ing” is exceedingly difficult to play properly because of its [the song’s] odd accents. He was especially skilled in ending phrases on the least expected notes, yet making the piece sound as though those phrase endings had been expected all along -his “Off Minor,” for instance. (Gridley 147)

The innovation behind such pieces as “Off minor” and “Straight, No Chaser” placed T. S. Monk as the firs bebop composer. Bebop was a variant of jazz prevalent during the early 1940s to the middle 1950s, which characterized by small bands, rich chords, a plethora of chord changes, fast playing, surprises and dry, biting tone qualities. Although music of the “swing” era exhibited some of these characteristics, the distinction of bebop came through an intensification of said properties, plus an emphasis on artistic license (improvisation) above popularity. (Gridley 169) Bebop artists were concerned about making music to please themselves as well as for those who appreciated the intricacies of jazz music. Monk’s accentuation of improvisation and other aspects of the music, which only the practitioner could appreciate, caused a new development of the “sphere.”

Monk’s “sphere” developed into two concentric spheres; the larger sphere was a glass bubble consisting of Monk’s musically influential peers, and the smaller marbled sphere was Monk’s private life and creative entity. In the book, Thelonious Monk: His Life and Music, Thomas Fitterling implicated the formation of Monk’s spheres in his [Fitterling’s] illustration of Monk’s career beginnings and household. Fitterling stated:

At the beginning of his career there was also an enforced inner exile from the business end of jazz. That the Monk household stood open to the restlessly searching young musicians [,] who were prepared to keep the master company on his endless piano excursions, is no contradiction. He did not conform to the world, but he did admit a few people into his own who were willing to adopt it in their turn. (Fitterling 7)

As a distinguished student of both mathematics and physics during his years in high school, there was a method to the randomness felt in Monk’s pieces. Monk’s unorthodox chord progressions were eminent in his AABA form compositions. Monk makes it immediately clear that the B-section of these compositions was a dominant element in each theme. (Fitterling 115) An example of Monk’s employment of the B-section as the dominant element in the theme of a piece was given in “Criss Cross.” In his description of the musical mathematics of the B-section of “Criss Cross,” Thomas Fitterling gives another model for Monk’s concentric spheres with the words:

Three against four was a key term. In the B-section we have a different grouping in three. The main motif, derived from the main thematic material of bar five of the A-section, extends over three bars, and this group of three is repeated once. The first interval of this main thematic material, however, is modulated to a sixth, and the movement of the motif steers toward a halt on the fifth step. This fifth step naturally demands repetition of the whole three-bar-grouping, and the demand is met, as we saw. Yet the equally classical song form requires two more bars. Monk comes up with a crazy but ingenious solution: a tonality blurring [hyphen has been extracted between tonality and blurring] run downwards to the flattened sixth, creating a false relation, after which the return to the A-section brings a welcome release. In later recordings Monk dropped these two bars. This yields a more coherent tune, underlying the importance Monk attached to a song’s B-section. On the CBS Criss Cross record Monk abridges the intro to two bars, and his Black Lion recording has bars five and following of the A-section as an intro. Both procedures highlight in their way the importance of the ‘inside of the composition.’ (Fitterling 117-8)

This passage exemplifies the ability of Monk at applying mathematical skill to manipulating sounds of the blue note scale. Monk achieved these things without formal training.

Monk employed simple compositional devices with very original results. His ‘Straight, No Chaser’ involves basically only one idea played again and again, each time in a different part of the measure and with a different ending. The shifting accents reflect a craft which can produce depth in simplicity. The melody is an ingenious invention set atop the twelve-bar blues chord progression. (Gridley 147)

Monk’s concentric spheres (the outer sphere being the A-sections and the inner sphere being the B-section) were given volume through the scientific formulas written on his scores. The unorthodox melodies and complex chord progressions reflected Monk’s tendency to go against the social norm, and to present perspectives that beforehand had not been real, or relative, to the public.

The concentric spheres displayed Monk’s proficiency as a mathematical physicist in the field of jazz music, with the understanding of the relativity special to every individual. Upon researching certain documents, some believe that Monk did not learn of his middle name until the forties; at which time, he employed the names as an accessory to assert his “hippness” among his peers. Monk commented that by his middle name being Sphere, he could never be square. Monk humorously made this statement, knowing that a three-dimensional object could never be two-dimensional. As a pioneer in the genre called Bebop, Monk added a unique dimension to jazz music and invited the careful listener into his inner Sphere.

Works Cited

Fitterling, Thomas. Robert Dobbin, trans. Thelonious Monk: His Life and Music. Berkeley Hills, 1997.

Mark Gridley. Jazz Styles: History and Analysis, 6th ed. Upper Saddle River: Prentice Hall, 1987.

-Written for school November 1998

[i-am-extremely-mad]

I'll add a bit of what you left in my messages before I answer this:

“Just want to point out that yes SJW means just about anything at this point, woke still has a pretty standard definition. Someone who is “woke” believes they know the truth, they have woken up and are privy to information most are not. That since they now know more, that that makes them better then the rest. Being woke is not specifically left or right wing, as both sides have claimed to be woke while also mocking those claiming to be woke.

It’s all stupid no matter what.”

And the discussion we had below this post:

https://www.tumblr.com/hadesisqueer/719197512003682304/the-thing-about-asami-is-that-shes-a-whole-unit

“fallentitan98: As much as I don’t like TLOK, Asami is absolutely not one of the reasons I don’t like it. Great character, great woman.”

i-am-extremely-mad: @fallentitan98 As much as I don't like TLOK" ...You mean, you don't understand the genre, themes and politics of this show? TLOK is DieselPunk fantasy and main theme is conflict between tradition and progression and what place Korra as a person and Avatar have in this new early 20th century like modern world.

TLOK have two story arcs, Book 1 is more or less self-contained mini series, while Books 2, 3 and 4 make a 3-part story arc that is basically a REVERSE ATLA story arc.

@fallentitan98 ...Oh no, you also follow certain anti-SJW, anti-woke blogs and have questionable opinions about feminism (TERFs and radfems aren't the only part of feminism), BLM and leftists (not all leftists are tankies) ...uh, oh...

“fallentitan98: @i-am-extremely-mad Honestly it was the animation for some reason. I watched the first season but just didn’t like it that much.  Then I saw there were mechs years later and was super confused? I guess TLOK is up there with AoT, shows I’ve been told are amazing and everything and I’m sure are great but I just could never watch them. I’m sure if I had time and watched TLOK in order I might like it better but idk.”

i-am-extremely-mad: @fallentitan98 The reason why there are cars, airships and RetroFuturistic technologies like Mechas is because TLOK is DieselPunk fantasy, just like FullMetal Alchemist and Arcane. You should watch the show in that context.

And as for "woke" and "SJW", those terms have long since lost all meaning, because for some reactionaries literally everything has become "woke". Step mother was a horrible person because she was a feminist or that have nothing to do with each other?

“fallentitan98: @i-am-extremely-mad Well I do love FMA and Arcane. I might try watching it again some day.

 And my step mother was a horrible person and a feminist. Men aren’t allowed to cry, men are expendable, I was born stupid, all that jazz. You try being 13 and being told to your face while you cry that someone wishes it was legal for you to have your tear ducts removed because your cry like a bitch, that there’s nothing for men to cry about. You try going through 10 years of shit like that.”

i-am-extremely-mad: @fallentitan98 "Men aren't allowed to cry, men are expendable, I was born stupid, all that jazz." I don't know what kind of feminism this is, because it sounds more like it came from some MGTOW, incel nuts. If anything, anti-feminists blame feminism for supposedly men not being masculine anymore, and that they are too emotional. Maybe you should stop taking your information from conservative reactionary blogs... because holy shit... those posts are horrible to read...

“fallentitan98: @i-am-extremely-mad It’s the feminism I grew up with and the feminism I found online. I can describe worse things that’s been told to me if you think that sounds nuts. And yeah it sounds like some incel shit alright, not much difference between the two. Both hate the other sex for stupid reasons and blame them for their own problems. Again gonna ask, what conservative reactionary blogs? Everyone I follow seems pretty left, other then two blogs, and they ain’t reactionaries.”

The OP is definitely right here.

“Y’all just keep doing this shit. You keep changing the meaning of words and then acting like that’s a huge gatcha to the right.

That’s not what woke means. Stop it. It’s time to stop changing the meaning of words whenever you personally want and then expecting everyone else to go with it or else they’re the problem.

Woke is not about racism. It does not mean being informed about systemic racism.”

If anyone here was changing the meaning of words, it would be con/servatives and reactionists. And this was pure projection on your part.

Woke was originally about racism, but of course the reactionaries took that word and now use it as a way to hide their own bigotry or is just a stand-in for whatever slur they can't use in public conservation.

when you know that the word woke is aave and refers to someone who's informed about systemic antiblack racism all those conservative rants about "the woke mob" are that much more transparent. whether or not they know what it actually means, the effect of misusing it in the way they do is the same. most people will end up thinking it just means "the radical left" or some other nebulous and vague anti-conservative movement, and whatever topic du jour is considered "woke" ends up completely sweeping any discussions about the antiblack systems that the us is built upon under the rug

[dhubro]

Unleash Your Musical Talent: A Step-by-Step Guide to Learning Piano

Are you drawn to the enchanting melodies of piano music, dreaming of playing your favorite tunes with finesse and grace? Learning the piano can be an incredibly rewarding journey, enriching your life with the beauty of music while sharpening your cognitive skills. Whether you're a complete novice or someone looking to refine their skills, this step-by-step guide will help you embark on your musical adventure with confidence.

Set Clear Goals

Before diving into piano lessons, take some time to define your goals. Are you aiming to play classical pieces, jazz standards, or perhaps compose your own music? Establishing clear objectives will guide your learning process and keep you motivated along the way.

Acquire the Right Tools

To begin your piano journey, you'll need access to a piano or keyboard. While acoustic pianos offer an authentic playing experience, digital keyboards are a more affordable and space-saving option for beginners. Additionally, invest in quality learning materials such as instructional books, online tutorials, and sheet music to support your practice.

Learn the Basics of Music Theory

Understanding the fundamentals of music theory is essential for any aspiring pianist. Familiarize yourself with concepts such as notes, scales, chords, and rhythm to build a solid foundation for your playing. Online resources and music learning centers like Music Learning Center - Ridgefield offer comprehensive courses tailored to different skill levels, making it easier to grasp these concepts effectively.

Master Proper Technique

Learning proper piano technique is crucial for developing dexterity and preventing injuries. Focus on posture, hand positioning, and finger independence as you practice scales, arpeggios, and simple exercises. Enlisting the guidance of a qualified piano teacher or attending group classes can provide valuable feedback and correction to refine your technique.

Practice Consistently

As the saying goes, practice makes perfect. Dedicate regular practice sessions to hone your skills and reinforce what you've learned. Start with short practice sessions and gradually increase the duration as you become more proficient. Remember to practice mindfully, focusing on accuracy, expression, and musicality.

Explore Different Styles and Repertoire

The beauty of the piano lies in its versatility, allowing you to explore a wide range of musical genres and styles. Experiment with classical pieces, jazz improvisation, pop songs, and more to discover your personal preferences and broaden your musical horizons. Don't be afraid to challenge yourself with new repertoire while also revisiting familiar pieces to track your progress.

Seek Inspiration and Guidance

Throughout your piano journey, draw inspiration from accomplished pianists, attend live performances, and immerse yourself in the rich tapestry of piano music. Additionally, don't hesitate to seek guidance from experienced musicians, teachers, and peers who can offer valuable insights, encouragement, and support along the way.

Embrace the Joy of Music Making

Above all, remember to enjoy the process of learning and making music. Embrace the challenges, celebrate your achievements, and savor the sheer joy of expressing yourself through the piano. Whether you're playing for yourself or sharing your music with others, let your passion and creativity shine through every note you play.

Embark on Your Musical Journey Today!

Learning the piano is a fulfilling and enriching endeavor that offers a lifetime of enjoyment and self-expression. By following this step-by-step guide and harnessing the resources available at Music Learning Center - Ridgefield, you can unleash your musical talent and embark on a journey of discovery and growth. So, what are you waiting for? Let the music begin!

[princetontv]

Cafe Improv - July 2023 Part 1 from CNJN on Vimeo.

Performances by Alan Katz, R&D, Emibyrd, Alex Radus and Debi Gallo

Alan Katz - Poet Alan Katz writes poems coming from the news or personal experience. Appearing mostly on small, open-mic stages, he is most proud that his poem, The Hourglass, was read on stage at the Bickford Theater, for a Caregivers On-Stage event. Currently, he is working on a book about creating a positive school climate, such that lessons learned will carry over into adult life, thereby creating a more peaceful, nurturing, and caring society. algkatz.wixsite.com/qraicards

R&D - Science Meets Music, Jazz Duo R&D consists of a couple of scientists, a physicist and a mathematician. Jim DeLucia, the physicist, plays the saxophone. Howard Rees, the mathematician, is at the piano. R&D is a work in progress and they enjoy playing jazz standards. Tonight they will also be joined by one of Jim's sisters, Judy Segers, for one well-loved tune. Judy, a pharmacist, also fits neatly into the R & D “brand”!

Emibyrd - Harpist - Singer - Songwriter With a four-octave vocal range, virtuosic harp riffs, and vibrant electronic tracks, award-winning harpist/singer-songwriter Emibyrd packs themes of self-love, relationships, and social justice into emotional and danceable pop songs. You may recognize Emi from our “Best of Café Improv” showcase in 2015. They have recently graduated from Berklee College of Music and have returned to Café Improv once again. You can find their music on all major streaming platforms.

Alex Radus - Singer - Songwriter Known affectionately for giving audiences “genre whiplash”, Alex Radus pairs whimsical and poignant storytelling with an eclectic mix of Americana, swing, folk, and more. John Gorka has called him a “remarkable artist…an excellent songwriter and singer…worth going out of your way to hear.” Alex is joined by Daniella Fischetti (fiddle) and Daniel Manchester (bass) of the Alex Radus Band. Their recent album, Tributaries, was recorded at the legendary listening room, Godfrey Daniels. alexradus.com | @alexradusmusic

Debi Gallo - TV Journalist & Author Debi Gallo is a former television reporter and anchor who spent 15 years working in West Virginia, New Jersey, and New York City. She wrote a book about her experiences called Confessions of a Television Reporter, a behind the scenes look at what life is really like in TV news. Confessions of a Television Reporter received five star reviews and is available on Amazon, Debi’s website, debigallo.com, and her YouTube channel, Debi Gallo.

[jasonbeblog]

Reading Music for Guitarists: A Beginner's Guide to Reading Tablature and Sheet Music

Reading music is an essential skill for any guitarist looking to expand their repertoire and explore different genres. Whether you're interested in classical, rock, or jazz, understanding how to read music notation opens up a world of possibilities. In this blog post, we'll provide a beginner's guide to reading tablature (tabs) and sheet music, equipping you with the knowledge to enhance your guitar playing and explore new musical territories.

Understanding Tablature (Tabs): Tablature is a simplified form of notation specifically designed for guitarists. It represents the guitar's strings and frets, allowing you to play specific notes and chords. Each line in a tab represents a string, and numbers on the lines indicate which fret to play. The lower-numbered frets are closer to the guitar's headstock, while higher numbers are closer to the body. Tabs provide a visual representation of where to place your fingers on the fretboard.

Reading Guitar Tabs: To read guitar tabs effectively, start by understanding the basic symbols commonly used. The numbers on the lines represent the fret numbers, indicating which fret to press down on a specific string. For example, if there's a "3" on the top line, it means to play the third fret on the highest string (usually the high E string). Arrows or bends can indicate specific techniques or slides to apply.

Sheet Music and Standard Notation: Sheet music uses standard notation, consisting of a series of symbols and notes arranged on a staff. Each staff consists of horizontal lines and spaces, representing different pitches. The lines and spaces on the staff correspond to the guitar's strings and frets. Notes are represented by oval shapes, placed either on the lines or in the spaces. The position of the note on the staff determines which string and fret to play.

Understanding Pitch and Duration: In sheet music, the position of the note on the staff determines its pitch, while the shape of the note determines its duration. The higher a note is placed on the staff, the higher the pitch. Notes can have different shapes, such as whole notes, half notes, quarter notes, and eighth notes, each representing a specific duration. The presence of flags or beams on notes indicate their duration as well.

Learning Basic Rhythmic Notation: Rhythm is a crucial element of music, and understanding rhythmic notation is essential for guitarists. In sheet music, rhythms are represented by notes and rests. Rests indicate periods of silence or breaks in the music. Notes with different shapes and stems represent different durations, as mentioned earlier. Learning to count beats and understanding time signatures will help you play rhythmically accurate and precise guitar parts.

Practice Sight-Reading: Sight-reading is the ability to read and play music in real-time, without prior preparation. Regular practice is key to improving your sight-reading skills. Start with simple pieces and gradually progress to more complex music. Begin by focusing on individual measures or phrases, and then gradually expand to larger sections. Patience and consistent practice will greatly improve your sight-reading abilities over time.

Utilize Learning Resources: Various resources are available to aid your journey in reading music for guitar. Online tutorials, books, and sheet music are valuable tools to learn from. Consider enrolling in guitar lessons or taking music theory classes to gain a deeper understanding of notation and expand your musical knowledge.

[jazzstandardspoll]

Descriptions & Propaganda

Summertime

Composed by George Gershwin, with lyrics by DuBose Heyward

Notable versions: Billie Holiday (x), Sidney Bechet (x), Louis Armstrong and Ella Fitzgerald (x)

Propaganda: simply one of the greatest songs of all time. sampled/syncopated in so many other great songs too (e.g. doin time by sublime/lana…)

every version of it from ella fitzgerald to sublime EATS... what other song has done it like this

didn’t put them in notable versions bc they’re not jazz but some bonus folk covers bc i find it works surprisingly well as a folk song: peter seeger (x) and doc watson (x)

St. James' Infirmary

Traditional

Notable versions: Louis Armstrong (x), Cab Calloway (x), Artie Shaw (x)

Propaganda:

i love how this song starts as a lament and then switches on a dime to such a cool, proud, almost bragging defiance of death. and of course that trumpet!! that trombone!!

imo this song exemplifies the rich tapestry of popular music and the links between the jazz standards, the blues, and the english, irish, and appalachian folk traditions. people sort of fight over whether this song is influenced by the unfortunate rake/rakes progress/young trooper cut down in his prime/etc., (musicologist a. l. lloyd’s theory) or not- there’s a whole book about it, “i went down to the st. james infirmary” by robert harwood.

but none of that really matters. if you love the blues and you love folk music this song is like a familiar hug, full of the themes and motifs you recognize but maybe can’t quite pin down. the mysterious origins are part of the fun. extra propaganda: if you know/love/have ever listened to “blind willie mctell” by bob dylan, this song is the father.

i like the way this one sounds but i also think it's historically/anthropologically pretty cool... it's part of the lineage of "the unfortunate rake" which also spawned popular folk songs like "streets of laredo" and possibly "house of the rising sun" (debated among experts but possible), but this one unlike those others was taken up by jazz artists starting in the 1920s and eventually came to be regarded as a jazz standard. fascinating stuff!

[dannyandtheinfiniteplaylist]

Album #83 “Da Capo” by Love (1966)

so this record is sometimes described as a “jazz rock” record that predates what a lot of people consider actual jazz rock (apparently the first jazz rock record is considered “Out of Sight and Sound” by the Free Spirits, which only dropped a few months after this record). 

Love were known as a pretty standard folk band on their first album, but they decided to mix up their sound wildly for this, their second album. right out of the gate this record eschews what i was expecting, with some really dense arrangements and some phenomenal vocal melodies. the jazz rock thing is funny, because the most popular song on this record, “7 And 7 Is,” was one of the many songs and ideas that was paving the way for punk; conversely, the entire second side of the album is devoted to a single track, which immediately brought to mind the era of prog rock we are barrelling towards.

really, really liked this record. their third album, Forever Changes, is apparently looked back as their best, and is only a few records away in the book, so am excited to hear that too.

it’s interesting being this deep into this era of psychedelic experimentation and seeing the early beginnings of both progressive rock and punk rock; i had always had the understanding (maybe incorrectly) that punk was a specific response to the bloated and overbearing arrangements of prog rock. 

[jazz-session-trainer-7p]

jazz session trainer

⭐ ⏩⏩⏩️ DOWNLOAD MOD - LINK 🔥🔥🔥🔥🔥 Jazz Session Trainer is the ideal resource for those players who want to hone their improvising skills, improve their chops, and feel at home in a jam. I've read tons of material out on jazz but this book is a practical approach plus you have the added audio access to tons of songs with simple arrangements one. (Jazz Instruction). Jazz Session Trainer is the ideal resource for those players who want to hone their improvising skills, improve their chops. Jazz session trainer +enregistrements online: The Woodshedder's Practice Kit - E-Flat Edition de Larry, Dunlap en - ISBN - ISBN. Language: English ; Book Title: Jazz Session Trainer: the Woodshedder's Practice Kit-E-Flat Edition ; Author: Larry Dunlop ; Publisher: Hal Leonard Corporation. Extraído del método "Guitar Training Session - Standards & rítmicas jazz", a descubrir en. Chelsea activation with progressions. For more training ses. Jazz Jam Session en Hoplers Фейсбукта катталган Jazz Jam Session en Hoplers менен байланышуу үчүн.

[unit2marketingscarlet]

Life in 1920s

Education

In 1921 the Education Act raised the school leaving age to 14. State primary education was now free for all children and started at age 5; even the youngest children were expected to attend for the full day from 9am to 4.30pm. In the country, pupils at some schools were still practising writing with a tray of sand and a stick, progressing to a slate and chalk as they became more proficient. Classes were large, learning was by rote and books were shared between groups of pupils, as books and paper were expensive. Nature study, sewing, woodwork, country dancing and traditional folk songs were also taught.

Unemployment

By the mid 1920s unemployment had risen to over 2 million. Particularly affected areas were the north of England and Wales, where unemployment reached 70% in some places. This lead in turn to the Great Strike of 1926 (see picture below) and, following the US Wall Street crash of 1929, the beginning of the Great Depression of the 1930s.

Life in the 20s

For married women and their children, life was pretty much the same post-war as pre-war. For example, the middle-class stay-at-home housewife still changed into her afternoon dress after lunch to receive guests, and many such households had either a live-in maid or a ‘daily’ to help with household duties. Pregnant women normally gave birth at home and in a middle-class home, a live-in nurse was often engaged for the two weeks prior and for a month after the birth. For working class women there was no such luxury as a home help, and there was certainly no paternity leave for the husband!

Movies pop and culture

At the beginning of the decade, movies were silent. In 1927, The Jazz Singer became the first movie with sound. Josephine Baker became the first Black woman to star in a major motion picture that year as well, after starting her career as a dancer during the Harlem Renaissance. 

Baker was just one of many women who epitomized the new "flapper" style who danced, drank, smoked and voted. These women cut their hair in bobs, wore make-up, and partied.  

The Harlem Renaissance was an intellectual, social, and artistic explosion centered in the predominantly African American section of Harlem in New York City during the 1920s. The period is considered to have been a rebirth of the African American arts, with music, literature, and art all seeing significant achievements. It began following the Great Migration, when millions of African Americans fled the Jim Crow South for cities in the North. 

A new way of playing the piano called the Harlem Stride style helped to change traditional jazz bands into something more lively and exciting.  Its popularity soon spread throughout the country. Jazz performers and composers at the time such as Jelly Roll Morton and bandleaders like Duke Ellington, Louis Armstrong and Fletcher Henderson were extremely talented, skillful and inspirational.  Duke Ellington in particular gained popularity during the Harlem Renaissance. He wrote more than 1,000 compositions and many of his pieces have become standards. Louis Armstrong became the first great jazz soloist when he moved from Chicago to New York in 1924. 

https://www.studentsofhistory.com/the-harlem-renaissance.

www.studentsofhistory.com. (n.d.). The Harlem Renaissance. [online] Available at: https://www.studentsofhistory.com/the-harlem-renaissance.

[gowns]

lol ok, but actually, i think what's really helping is. well a few things

having the keyboard set up in a central area (middle of the living room), easy to access and turn on

getting books of sheet music of songs that i am interested in, know well, and are relatively easy to learn (my case: elton john, harry nilsson, leonard cohen, jazz standards)

not limiting myself to 30-60 minuets of uninterrupted practice time (b/c my life doesn't work like that / isn't set up like that / my brain and hands don't really like that). instead i just grab a few minutes here, few minutes there. even just to do some scales and build the muscle memory

more active-listening to music, seeing if i can hear the chord progressions, bass lines, etc, more clearly

following chord charts above sheet music lines (easy) but also watching where the notes land within the chord changes to make those notes more recognizable to me (building sight reading skills)

learning chord inversions -- not just good for variety and different sounds but also i would say CRUCIAL for people with small hands / limited mobility

youtube videos have been good for helping solidify concepts! again i'm not really the kind of person who can just sit and listen for 30-60 min at a time but i like putting them on while working, or just before practicing, to get these terms and concepts more in my brain. less intimidating. turns music talk into everyday talk, simple as doing chores ... there's method to this stuff but a lot of it is just doing it and getting it in your body

i still watch some tv but lately i have been so busy with work and so into practicing piano that i have been practicing piano before i go to bed instead of watching tv. *audience claps, slowly at first, building to a crescendo, close up on people wiping tears from their eyes*

[ajrdileva]

How to Analyze Jazz Standards. The Berklee Method - mDecks Music

How to Analyze Jazz Standards. The Berklee Method – mDecks Music

Let me show how to analyze the jazz standard Records-me. You can find the final analysis, along with 1300+ other jazz standards fully analyzed in The Jazz Standards Progressions Book by mDecks Music I’ll show you the process we go through when we create an analysis of a jazz standard. The harmonic progression in Recorda-me seems pretty simple at first glance. Recorda-me Chord Progression The…

[dameronology]

tea & whiskey {jack daniels x reader} - 4

summary: it’s the morning after the night before. time for a very awkward conversation.

warnings: warnings, very very brief alluding to smut but rly only if u squint 

song for this chapter is best friend by rex orange county! also the series masterlist can be found through the link to my main masterlist in my bio :) enjoy!

- jazz

You were’t sure what you needed more the next day: painkillers, to help your hangover or another round of drinks, to help you forget what you’d done night before. 

Or should I say - who you had done the night before. 

You didn’t sleep with your co-workers, much less your boss. God, it was almost as bad as if you’d slept with Merl - no, you couldn’t even let your brain go there. You’d already thrown up twice that morning (once into Jack’s toilet and then once into the subway tracks) and you didn’t need to make yourself do it again. Your stomach was churning and it felt as though the Blue Man Group were rehearsing their drum set in your frontal lobe. You’d tried to nurse it with a large block coffee and a half a packet of painkillers but alas, to no success. 

Somehow, though, your physical pains were the least of your worries. The fact you’d snuck out of Jack’s apartment and left without a word was playing over and over again in your head - so much so, that you almost didn’t come into work. Almost. Not even this situation was enough to make you take a day off. 

‘Is there a reason you’ve been stood outside the office for fifteen minutes, agent?’ You jumped at the sound of Champ’s voice. He glanced between the Starbucks coffee in his hand and the bruise around your left eye (fuck, you’d forgotten about that), quirking an eyebrow. ‘Rough night?’

‘No.’ You quickly answered. ‘Sir.’

‘So you what...walked into a door?’

Got drunk, tried to square up to a guy, got punched and then fucked my boss - thanks for asking. 

‘Yeah.’ You nodded. ‘I’m not normally clumsy but I forget that doors in America...go the other way? You know, drive on the other side of the road, use a different weight system, doors that go-’

‘- you can stop now, Percival.’ Champ cut you off. ‘Make sure you look after yourself.’

‘Right.’ You nodded. ‘Thank you.’

With the agent staring you at expectantly, you had no choice but to go into the office. You forced a smile, using your weight to budge open the door and step inside. 

The sound of your heels against the floor announced your entrance; the faint smell of Jack’s aftershave wasn’t normally that noticeable, but that morning, it wasn’t doing you any favours. You stood in the door way for a moment, letting it shut behind you as your eyes landed on the cowboy. 

He didn’t even look at you. Why wasn’t he looking at you? Fuck, had you upset him-

‘Nice of you to make an appearance, Percy.’ He suddenly spoke, flashing you a smile as he tore his eyes away from his computer screen. ‘How’s the shiner? Your buddy sure did pack a punch, huh?’

‘Uh, yeah.’ You blinked in surprise. ‘It’s fine, a little sore.’

‘You should pop down the lab on your break. Ginger will sort it out in no time.’ He leant back in his chair. 

‘Are we just not gonna talk about the fact we slept together last night?’ 

Jack suddenly jumped in surprise, eyes widening. Right, clearly not. 

‘I was trying to find a way to bring up such a sensitive subject.’ He replied. ‘But I guess I don’t gotta worry.’

You sighed as you walked over to your desk, placing your bag down and taking a seat. Fuck, your head was killing. You rubbed your eyes and cleared your throat, forcing yourself to continue the difficult conversation you’d just unwittingly started. You got the vibe that people in the South probably didn’t talk about sex so crudely. Twenty-something years of hanging around Eggsy Unwin had de-sensitised you to the idea of it being a taboo subject. 

‘I’m sorry I left this morning without saying anything.’ You sheepishly murmured. ‘When I do stuff like that, it’s usually with random guys I found in a bar.’

The biggest question that kept playing over and over in your head was why? 

Why Jack? You’d rebuffed Tequila’s advances before he could even finish the damn sentence and yet you’d slipped into bed with Jack with ease. It was probably to do with the fact he’d been such a good kisser, and the rest did not disappoint. It had been good. Really good. Possibly the best you’d ever had, actually. He’d said at the beginning of the night that he was going to help you kick back and chill out and...yeah, he’d done a pretty good job. 

‘It doesn’t affect me, sugar.’ Jack shrugged. ‘I don’t see why it has to change anything between us.’

Of course. Had you forgotten who you were talking to? This was Whiskey, the biggest flirt at the fucking agency. He’d probably had a different girl the night before you, and he was probably going to have somebody else tonight. He hadn’t said or done anything that could have lead you to believe it meant something more. Sure, you’d become friends and saw each other day and yeah, he drove you home sometimes because he didn’t want you to walk home in the dark and he had invited you out to help you de-stress when you needed it most. 

Did you like Jack? Did you want it to be something more? Did the last few weeks all....add up to something? Then again, maybe he was just being nice. Maybe he was just looking out for you, because you were a young woman, alone in the city. Perhaps last night had just been...a fluke. A glitch in the system. A wobble in what was otherwise a completely professional relationship.

‘No, you’re right.’ You nodded, scratching the back of your neck. It really felt like you should have said something more, because it felt like something more. ‘It didn’t mean anything.’

He quirked a brow at you. ‘So we’re good?’

You forced a smile. ‘Better than ever, Whiskey.’ 

You’d had one night stands before. They were standard, really - but it was rare you found yourself thinking about them the next day. Something between you just worked. You couldn’t put your finger on it, in the same way you couldn’t spell out the sudden urge to kiss him last night, but some things just couldn’t be explained. Your attraction to him certainly couldn’t be - he was older, used the worst nicknames and spoke to you entirely in Southern metaphors. But, as aforementioned, he’d also looked after you.

Maybe that was what you needed. Maybe it was what you wanted-

- You stopped yourself there. No time to unpack all of that, especially when you were this hungover and spent most of your waking hours spitting fire about how independent you were. You’d had Tequila pinned to the wall less than twelve hours ago for trying to make move on you.  It was probably something to save for therapy (which was on your to-do list). 

The tension in the room felt a little more reflective of a fight between a couple than it did of two friends who had casually slept together the night before. Normally, the room was just calm, filled with the only sounds of you two occasionally cracking jokes or your fingers desperately tapping away at your respective computers. Now? It was tense. Suffocatingly so, as though it could have swallowed you whole. 

‘I’m gonna get more coffee.’ You announced, abruptly. ‘And I guess I’ll pay Ginger a visit to sort out this annoying fucking bruise. You want anything from Starbucks?’

‘Didn’t you just go?’ He observed. 

‘Yeah, but I want some fresh air.’

As you passed Jack’s desk on the way out, he reached out and grabbed your hand, quickly tangling your fingers in his. He peered up at you, brow furrowed - you were off. He knew you were off. He’d proven time and time again over the last month that he could read you like a fucking book. You were a clown for thinking that he wouldn’t notice the fact you’d completely retracted into yourself, or that you’d suddenly from from Jack to Whiskey. 

‘You’re annoyed at me.’ He observed.

‘I’m not annoyed at you.’ You didn’t try to pull your hand back. ‘I’m annoyed at...myself, I guess.’

‘Why?’ 

‘Because I let last night happen.’ You explained. ‘I shouldn’t have made a move on you, I shouldn’t have broken every professional boundary between us for one night of meaningless-’

‘- what if it wasn’t meaningless?’

You froze, suddenly snatching your hand back. What were you meant to say to that? You couldn’t work out if you wanted it to mean something. There was so much to untangle but your main concern was sorting out your sore nose and banging head ache. 

‘Jack...’ you murmured. ‘I can’t talk about this right now. My head is on fire and my nose is fucking purple.’

He stood up, reaching for his jacket. ‘C’mon then, I’ll take you down the lab.’

‘I can get there myself, really.’

‘D’you know where it is, sugar?’

‘I can work it out.’ You shot back. ‘I’m smart-’

Before you could finish your sentence, he had a hand on the small of your back and was guiding you out the room and down the hall. That was new; he hadn’t really shown you any signs of physical touch - excluding last night, obviously - but the progression felt...natural. Heck, Jack hadn’t even realised he was doing it, and you didn’t feel the urge to complain or push him off.

That was probably saying something. 

--

‘There we go.’ Ginger murmured, slowly dabbing at the bruise with...something. ‘Good as new.’

You felt as good as new. After putting a weird paste on your nose and forcing some fancy, top-of-the-range painkillers down your throat, your hangover was gone and your nose was no longer stinging. You’d been out here thinking that Kingsman had been far ahead with their medical technology, but this place made it look Victorian. You were tempted to ask if they had an amnesia-inducing medication that could make you and Jack forget the events of last night, but then you realised something.

You didn’t want to forget.

‘Thank you, Ginger.’ You smiled. ‘I really appreciate it.’

‘What did you do to end up with a busted nose and black eye, anyways?’ Ginger raised her eyebrows. 

‘Our girl tried to deck a man twice her size because she thought he was following a woman into the bathroom.’ Jack replied, gently rubbing your shoulder. That’s fine. That was totally fine. You were fine. 

‘I had the right intentions.’ You muttered. ‘Anyways - Calahan isn’t gonna catch himself, so I gotta get back to work. Thank you again, G.’

That was code for Jack and I are about to have a very awkward conversation. To be frank, you would have begrudgingly left at the whole ‘it didn’t mean anything’ point, but he’d been the one to push it, to float out the idea that it could mean something. You’d thought it, but he’d been the one to say it. That was the huge difference between the two of you. You could compartmentalise your feelings when they proved to be an inconvenience. Jack Daniels, however, was...brash. When he felt something, he had to say it. It was a blessing and a curse. 

You both walked back to your office in silence, once again with Jack’s hand resting on the small of your back. He knew you didn’t need looking after - hell, you’d proved that ten times over - but it almost like he was keeping an eye on you. He’d seen you square up to two different men in the last twenty four hours. It was for your safety, really. 

The minute the door had shut behind you both, that tension immediately returned. This time, however, there was a little hint of excitement. Anticipation, maybe. 

‘So...’ you trailed off, leaning against your desk. Awkwardly playing with your hands, you peered over at him. ‘Let’s recap: we slept together, I snuck out, we said it didn’t mean anything and then two seconds later, you retracted that statement.’

‘I didn’t retract it.’ Jack insisted. ‘I was just reading your signals - which are confusing as fuck, by the way, sweetheart - because you were the one who walked out.’

‘My signals?’ You scoffed. ‘You were the one who invited me out the in first place! And the one who drives me home every damn night so I don’t have to walk alone!’

‘You’re the one who’s being as skitterish as a calf at a goddamn smoke out-’

‘- as a what at a what?!’ You spluttered. ‘You’re the one calls me sweetheart all the time!’

‘Yeah, well, you’re the one who kissed me first-’

‘- just shut up a second!’ You held your finger out to him. He silenced immediately. 'I feel like we’re overcomplicating this.’

He quirked an eyebrow. ‘We are?’

‘Whi - Jack.’ You took a deep breath. ‘I am going to ask you this once, and once only. If you say no, I’ll move on and we can act like this never happened. If you say yes...we can discuss it, okay?’

‘Okay.’ He nodded. ‘Go for it.’

‘Did last night mean anything to you?’ You asked the question slowly, in the same tone you might ask a child what small object they had in their mouth. 

‘Not at first.’ Jack replied. ‘I didn’t go into it with the intention of it meaning something.’

You frowned. ‘Do go on.’

‘I was gonna come in this morning and pretend like it never happened. Then I saw you, with that stupid bruise and stupid smile and I realised that you’re brash and dumb and fucking gorgeous and ...shit, you’re spiteful as hell and I’m a little terrified of you but damn, I’d be lying if I said I wasn’t fucking obsessed with you.’

‘Well, shit.’ You murmured. It was the answer you’d wanted just...in a lot more words. 

For a long time, your head strong nature and inability to tolerate ninety-nine percent of the human race was something people had used a reason not to like you. But Jack? Oh, no. Not him. He saw it as a challenge, maybe. He had an urge to cut through the thorny outside and trying to see what you held on the inside. He’d see little bits of it here and there - your smile when you spoke about Eggsy, or the way you’d gone out your way to try and protect that woman - but he was determined to find more. He wanted to find more. You were an enigma, a vortex of swear words and brash decisions, and hell, you were sucking him right in.

‘You gonna say anything more than shit?’ He urged. 

You’d never been all that good with words. Didn’t actions speak louder? That’s what your mum had always said, and it had proven true in your line of work too. Punching the daylights out of someone was always a clearer threat than a concerning phone call. Pulling your weight on every mission was more proof of hard work than gloating to your uppers about your achievements.

And kissing your boss was a much clearer sign of telling him that you liked him too rather than just verbalising it.

Jack almost veered backwards when you lunged at him, just about catching you in his arms. Your lips crashed together - it was a little more desperate than last night, but then again, so was the whole situation. His arms caught you at the waist, holding you against his chest as he kissed you right back.

After a few moments, you pulled back for air. Neither of you said anything, instead choosing to just stare at each other with disbelief.

‘That was very unprofessional of me.’ You admitted. ‘But I do like you Jack and I’m worried it’s going to be a problem-’

‘- since when has mutual attraction ever been a problem?’ Jack practically snorted at the idea. ‘I like you. You like me. I don’t get what’s so complicated about that, sugar.’

‘Because it’s unprofessional! You’re my boss and I’m here to work.’ You suddenly took a step back, complex feelings finally colliding. ‘To prove myself and get a promotion!’

‘And you’re doing that just fine!’ He shot back. ‘Better than fine! You work your ass off ten times harder than any agent I’ve ever met. I don’t know how those uppity goddamn suit-makers haven’t realised what an asset you are.’

‘Are you saying that because you like me or because you mean it?’

‘Ouch.’ He murmured. ‘Even if I couldn’t stand you, I would still recognise the fact you’re one of the best agents I’ve ever seen.’

‘Wouldn’t that be an ideal world.’ You snorted. 

‘How about this?’ Jack reached forward, taking your hands in his. ‘It’s clear that whatever happens now, we probably can’t go back to how things were. I can try, but I promise you it won’t happen.’

You nodded in agreement. 

‘So, you can back track on everything we’ve just said and let it affect how we work together, or we can just lean into this whole stupid thing.’ He continued. ‘We’ll work together and play together. Two birds one stone, just until you go back to London.’ 

This was something of a rare opportunity: mutual attraction. Aside from the occasional one night stand in London, you barely had the chance to have fun. After years of hard work, maybe you deserved it. It was just...fooling around. You’d both admitted you liked one another but it was hardly a grand declaration at love. There were some feelings at stake, but not enough for you to be worried. 

‘We need ground rules.’ You replied. ‘I like you and you like me but we have to put the brakes on it there. You have to promise not to fall in love with me. Obsession only, okay?’

Jack tilted his head to the side, as if to say fair enough. ‘Sure thing. Anything else?’

‘The minute this starts to interfere with my work, I’m cutting you out.’ Your tone was a little sterner. ‘Heck, the second it happens, this stops. It’s...an addition to my work, not a replacement.’

‘As your superior...’ he said the words teasingly. You hated that you loved it. ‘I will make that doesn’t happpen.’

‘Good.’ You gave him a curt nod. ‘Then it’s settled.’

You stuck your hand out for him to shake. Jack peered down at it, almost waiting for you to retract it and break into a grin. But that didn’t happen. You were completely serious. Could he put it down to British weirdness? Probably. 

‘You drive me fucking insane.’ The cowboy grabbed your hand, yanking you towards him and capturing you in another kiss. 

tags: @demigod-dragonrider-schoolidol​ @imananxiousdriver​ @phoenixhalliwell​ @66wookies​ @paintballkid711​ @waatermelon-sugaar​ @hepburnwritess​ @haileyybird​ @xjaywritesx​ @jabbajambler​ @the-mandalorian-clone-lover​ @likeshootingstarsinthenightsky​ @welcometothepedroverse​ @wickedmuse​ (message me if you wanna be added!)