For me Db7#9 is a F dim7 or first degree dim 7 in first inversion, (adding the note E) this is typical 1, 1/2 diminish scale, what do you thing?. Nice videos!!!
This is good, but it would be Fab if you included the Piano Voicings. The Published version leaves these out almost entirely and to our loss. If you would do this, I would gladly pay good money for your transcriptions and analysis. Thanks, Jack
Hi Jack, thanks for your comment. There isn’t a lot of piano in this piece, but it is beautifully played and improvised of course. Did you mean the piano parts just for the piano solo and accompaniment to the other solos?
Hi Alex, I've learned a lot with all your videos but I'm still having a doubt concern it with the bass instrument, when you your five parts written with a good pack of cords that you like how do you treat the bass to avoid clashes?
Do you mean a walking bass part? If yes, then what I do is write the walking bass line. I generally keep the same pitches as I would for the lowest horn. Gil Evans did this as well. A few people have asked this so maybe I should make a video on it one day. If the lowest horn goes higher in range, it is ok to let the walking bass play its own part. Have a look how I write the bass part in this video: ua-cam.com/video/OStfIS_rEXQ/v-deo.html
@@gilevansinsideout So many thanks, I got you, I will wait that video, but maybe I did not express my question well enough, what I meant was specifically, what is the role of the bass player and piano player when you harmonize with 5 parts. But I understood. So many thanks. I'm gonna continue see your videos to keep learning.
Excellent. The piano or guitar player often don’t play in these passages. This is true of most big band music. Listen to Duke Ellington and Count Basie they usually play something between the phrases
for the gmin7b5 chord in the a section, i see it as a inversion of a minor plagal cadence (bbm6-fmaj7) because its a much darker sound than the 5-1 resolution would be. not to disagree with your analysis, because i totally agree with that too
I am learning this tune right now, so this is great! Thanks a lot!!
Great!
Your videos are a godsend
Haha, happy to help! And I take requests! :D
This is a great resource. Thanks again Alex!
Thank you Oscar!
For me Db7#9 is a F dim7 or first degree dim 7 in first inversion, (adding the note E) this is typical 1, 1/2 diminish scale, what do you thing?. Nice videos!!!
Yes I like that idea. 😀
This is good, but it would be Fab if you included the Piano Voicings. The Published version leaves these out almost entirely and to our loss. If you would do this, I would gladly pay good money for your transcriptions and analysis. Thanks, Jack
Hi Jack, thanks for your comment. There isn’t a lot of piano in this piece, but it is beautifully played and improvised of course. Did you mean the piano parts just for the piano solo and accompaniment to the other solos?
Hi Alex, I've learned a lot with all your videos but I'm still having a doubt concern it with the bass instrument, when you your five parts written with a good pack of cords that you like how do you treat the bass to avoid clashes?
Do you mean a walking bass part? If yes, then what I do is write the walking bass line. I generally keep the same pitches as I would for the lowest horn. Gil Evans did this as well. A few people have asked this so maybe I should make a video on it one day. If the lowest horn goes higher in range, it is ok to let the walking bass play its own part. Have a look how I write the bass part in this video: ua-cam.com/video/OStfIS_rEXQ/v-deo.html
@@gilevansinsideout So many thanks, I got you, I will wait that video, but maybe I did not express my question well enough, what I meant was specifically, what is the role of the bass player and piano player when you harmonize with 5 parts. But I understood. So many thanks. I'm gonna continue see your videos to keep learning.
Excellent. The piano or guitar player often don’t play in these passages. This is true of most big band music. Listen to Duke Ellington and Count Basie they usually play something between the phrases
hell yeah!
for the gmin7b5 chord in the a section, i see it as a inversion of a minor plagal cadence (bbm6-fmaj7) because its a much darker sound than the 5-1 resolution would be. not to disagree with your analysis, because i totally agree with that too
Oh that's an interesting idea. Yes why not? Thanks for your input