Hey! I got my first guitar, a squier affinity telecaster. Had it adjusted and it sounds heavenly. So far learning to play the guitar has been very fulfilling. Keep up the vids!
The tl;dr is use C minor blues except the E-7 C-7 Bb-7 D-7 where you play triads D Bb C Ab. I think I’d teach it faster and with less words these days…
Chris'77 is a super hero and his super power is to vanquish all the evil CST jazz professors world wide! Awesome video, but I still hear this in Cm with everything placing tension and release into Cm. What you said with the "F" in the melody is also what I found with the "C" in the melody of Inner Urge. That is, the melody in modern tunes give us improvise huge hints that are oft ignored. I've got some exciting news as well. A lot of the kids at my high school are musically inclined, and they want to learn music theory. So, I get to teach my dream class: a course that explores the intersections of language, writing, and music. I send you materials once I start putting it together.
Brilliant! On the last 4 bars of the A sections, Bb melodic minor works over A7alt. On the Real Book chart you're using, Bb-7 follows A7alt, but on the Colorado Cookbook chart it just says A7alt, Bb-. So Bb- melodic would work over those last four bars. But C- penta works just fine, too, especially if you add Db (the b9). Another thing I noticed: over that Eb^#9#11 (D7/Eb) G melodic minor fits perfectly.
Herbie plays Bb Dorian at one point iirc. I take theory with a pinch of salt. It’s not about what works it’s about what the actual musicians play; and when I started listening to this stuff instead of what I was told about it, I learned a lot.
Also fakebooks need to be treated with scepticism. They’ll let you fake a tune, but when it comes down to it they are all questionable. It’s good to form your own opinion about what’s on those recordings.
@@JazzGuitarScrapbook The only difference between Bb dorian and Bb mel. minor is the 7th. Over A7alt the Ab in Bb dorian clashes with G, the b7 of A7. But if Wayne Shorter or one of the other cats played it that way, so be it. I wish I could hear that as well as you do.
In all honesty, the analysis is thoroughly appreciated and I get where you're coming from in terms of the "follow the melody" approach, but I tend to find what Herbie says in the tune and his heavy lean into the modal approach a more musical and ultimately - haunting sound. Herbie was 25 when recording this. He really broke away from the more clichéd comfortable bebop idioms of the 50's. Don't get me wrong, I love Bud Powell and Barry Harris, but it's just that Herbie was onto some other shit completely.
I do feel Herbies approach is very well served by mainstream jazz education. Mark Levine had it well covered. In the end that became the new mainstream and it’s quite nice (for me) to see what other approaches people use. I feel Wayne is pretty much his own thing, quite unique.
Hey! I got my first guitar, a squier affinity telecaster. Had it adjusted and it sounds heavenly. So far learning to play the guitar has been very fulfilling. Keep up the vids!
Frantzes Elzaurdia welcome to team telecaster. Enjoy!
This was extremely helpful, I appreciate it
i’ll save this video for when i can understand it
The tl;dr is use C minor blues except the E-7 C-7 Bb-7 D-7 where you play triads D Bb C Ab. I think I’d teach it faster and with less words these days…
Great stuff, Chris!
Ralph Towner used it a bit I've used it compositionally
Chris'77 is a super hero and his super power is to vanquish all the evil CST jazz professors world wide! Awesome video, but I still hear this in Cm with everything placing tension and release into Cm. What you said with the "F" in the melody is also what I found with the "C" in the melody of Inner Urge. That is, the melody in modern tunes give us improvise huge hints that are oft ignored. I've got some exciting news as well. A lot of the kids at my high school are musically inclined, and they want to learn music theory. So, I get to teach my dream class: a course that explores the intersections of language, writing, and music. I send you materials once I start putting it together.
Sure, C Blooz innit
Please do!
Brilliant! On the last 4 bars of the A sections, Bb melodic minor works over A7alt. On the Real Book chart you're using, Bb-7 follows A7alt, but on the Colorado Cookbook chart it just says A7alt, Bb-. So Bb- melodic would work over those last four bars. But C- penta works just fine, too, especially if you add Db (the b9).
Another thing I noticed: over that Eb^#9#11 (D7/Eb) G melodic minor fits perfectly.
Herbie plays Bb Dorian at one point iirc. I take theory with a pinch of salt. It’s not about what works it’s about what the actual musicians play; and when I started listening to this stuff instead of what I was told about it, I learned a lot.
Also fakebooks need to be treated with scepticism. They’ll let you fake a tune, but when it comes down to it they are all questionable. It’s good to form your own opinion about what’s on those recordings.
@@JazzGuitarScrapbook The only difference between Bb dorian and Bb mel. minor is the 7th. Over A7alt the Ab in Bb dorian clashes with G, the b7 of A7. But if Wayne Shorter or one of the other cats played it that way, so be it. I wish I could hear that as well as you do.
@@LarrySiden you’d think from theory but in practice things are looser, at least on these old 60s records
EbM7#9#11={D/Eb}= Eb,F#, G,A,Bb,C,D my question is how did Wayne notate it.
Oh this... I'd love to know. I think Wayne's charts are in the Library of Congress?
I dun understand the dmaj din cmaj cmin part can u explain which is where to use
Over Em7 Cm7 Dm7 Bbm7 use D Dm C Cm
@@JazzGuitarScrapbook thank you for the lesson! I get the a section done , I try to understand the b tmr hahaha
@@carmenip6924 just ii v Is, the only odd thing is that maj7#9 chord
@@JazzGuitarScrapbookhi may I ask for (Adiminshed 7 to ab7 ) and (ebmaj7#11 to Db maj7#11)what can I use?
@@carmenip6924 do you mean Am7b5 Ab7 Gm (first three bars of the B section) and Ebmaj7#9#11 Dbmaj7#11 at the end of the B?
Blues scale doesn't exist.
Sure - although for something that doesn’t exist there aren’t half a lot of examples of it in jazz….
In all honesty, the analysis is thoroughly appreciated and I get where you're coming from in terms of the "follow the melody" approach, but I tend to find what Herbie says in the tune and his heavy lean into the modal approach a more musical and ultimately - haunting sound. Herbie was 25 when recording this. He really broke away from the more clichéd comfortable bebop idioms of the 50's. Don't get me wrong, I love Bud Powell and Barry Harris, but it's just that Herbie was onto some other shit completely.
I do feel Herbies approach is very well served by mainstream jazz education. Mark Levine had it well covered. In the end that became the new mainstream and it’s quite nice (for me) to see what other approaches people use. I feel Wayne is pretty much his own thing, quite unique.