Heck yea! Monk is the master of sounds. Was very happy to see this on my feed. I've been use F*a in bass/C# for A7, which I stole from him, and now I have some more to work on :)
I randomly bought a more recent Monk record in downtown Seattle when I was 15. It was Criss-Cross. I remember the record store owner being surprised as this was the time of Nirvana and grunge. I admit it was foreign to me the first listens. Eventually it started clicking and got me into Jazz.
I absolutely love this, thank you!!! I've always been drawn to more sophisticated (and often ambiguous) harmonic tensions, and Monk was certainly important in that realm. Along those lines, Ornette Coleman's 'harmolodics' always seemed a perfectly logical extension of Monk's approach to harmonic movement. Anyway, great stuff, cheers!
I sure did learn something! I’ve never heard of a m21 chord!! I’ve played it before as a “color,” but did not know the various possible applications. I don’t think I (or, especially a typical audience) could listen to it for an evening’s worth, but, it’s a cool way to tweak the ear if used sparingly. Great lesson, Richie!👏😁
Superb. I am one of those "classical " composers to whom ypu were alluding. What's interesting is the number of embedded "resolutions". I am a beginner on jazz guitar.
Very hip lesson! Thank you. I just wanted to observe that all of these chords can be derived from the Barry Harris scales. You could call them "borrowed chords", but usually the guitarists I see talking about them (Chris Parks - "TILF Barry Harris", and Thomas Echols - "Labyrinth of Limitations") usually talk about 4 part harmony. It's cool seeing a jazz guy who has been around a while playing fully voiced piano-like extended chords. I really recommend both of those guys' channels as well if you haven't seen them, Richie. Min7add21, Maj7b13, and Majb6 could all be derived from the Major 6th Diminished Scale. The 7#11(no 3rd) I would say is from the Dominant Flat Five Diminished Scale. Cheers!
It's a fascinating presentation and insight into Monkist thinking, Richie but these sort of extra tensions beyond the second octave are currently a little too adult for my ear and palate. I'll keep trying though...I'm currently taking (and enjoying) a Monk ensemble class but we're limiting our arrangements to more conventional functional harmony.
I understand and it's perfectly OK for your ear to reject it. It took me years to get into them. Still maybe someday I'll run into you at Monkoholics Anonymous and we'll discuss adult chords! 😄
I’m a long time guitarist and continue to strive to improve after five plus decades of playing I’m feeling drawn to these beautiful tones . I’ve played by ear all my life and I’m studying theory now and really enjoying and improving. Thank you for your video. I’m glad I could find you
This is really great and quite thought provoking. I recently released a harmonica-adapted collection of Monk tunes called “HarmoniMonk,” and am looking for new dimensions of Monk’s oeuvre to explore for the next volume. I am headed out to your site to purchase the study guides. I’m sure it will be inspirational.
I was kid entering college, listening to heavy metal, hardcore punk, & hip hop. Walked into the library one day and found a Monk bio. Remembered my dad playing Monk around the house (and a ref in a Simpsons ep). Brought that book home, downloaded some mp3s (Limewire era), and read it every day on bus rides w/ a shabby curated bunch of tracks on a cd as the soundtrack. Changed my ears and my life
I think 'Round Midnight is my favorite of his tunes, and one of my all time favorites as well. Although I tend to go for Kenny Burrell's version, as I am a guitar player after all lol
I think part of Monk's harmonic progresssions had to do with contrary motion between parts and that's how some of those dissonances were arrived at. Therefore I don't find it useful just to consider one chord by itself. It was usually part of a progression and sounded better in that context.
I think you misunderstood me. I don't recall having said that as a general statement but instead to explain what was going on in given examples. From the moment I mention contrary motion, I have to be talking about the harmonic context between at least 2 chords, not just one chord like you mention. This is voice leading! That said, you can arrive at a dissonance with any form of voice leading..contrary, parallel,etc. I personally enjoy and find the ones using contrary motion the most interesting and especially unique in Monk's case!
That was a great lesson. I've suffered from Monkaphilia from the first exposure to his music over 50 years ago, and I DON'T WANT NO CURE!!!!!!!!!
🤣🤣🤣
I fell in love with it about thirty years ago with Light Blue: Arthur Blythe Plays Thelonious Monk ;)
@@ScottHz Ooooh, yeah, Arthur Blythe!!!!! I have vinyl of his.....good call.
Heck yea! Monk is the master of sounds. Was very happy to see this on my feed. I've been use F*a in bass/C# for A7, which I stole from him, and now I have some more to work on :)
👍👍👍
I randomly bought a more recent Monk record in downtown Seattle when I was 15. It was Criss-Cross. I remember the record store owner being surprised as this was the time of Nirvana and grunge. I admit it was foreign to me the first listens. Eventually it started clicking and got me into Jazz.
Peak Seattle was a great place. I miss the old days. In random shops you might get a lifetime of culture dropped on you by a random person.
I absolutely love this, thank you!!! I've always been drawn to more sophisticated (and often ambiguous) harmonic tensions, and Monk was certainly important in that realm. Along those lines, Ornette Coleman's 'harmolodics' always seemed a perfectly logical extension of Monk's approach to harmonic movement. Anyway, great stuff, cheers!
Glad you liked it...Monk-o-holics unite!
Very informative and presented perfectly. Gives me a lot of homework. Thank you Richie.-Bill
Thanks Bill...practice, practice, practice! 😄
perfect timing. coincidentally, I've just taken up to adapting Monk on guitar as well. thanks for the great lesson!
Great, thanks!
Another great video! The last 3 lessons have been so unbelievably inspiring! Thanks Richie!
Thanks, so glad to hear that!
I sure did learn something! I’ve never heard of a m21 chord!! I’ve played it before as a “color,” but did not know the various possible applications. I don’t think I (or, especially a typical audience) could listen to it for an evening’s worth, but, it’s a cool way to tweak the ear if used sparingly. Great lesson, Richie!👏😁
Superb. I am one of those "classical " composers to whom ypu were alluding. What's interesting is the number of embedded "resolutions". I am a beginner on jazz guitar.
Thanks! I love your description: "embedded resolutions"... very fitting! 🙂
@@RichieZellon Sent you a note
Very hip lesson! Thank you. I just wanted to observe that all of these chords can be derived from the Barry Harris scales. You could call them "borrowed chords", but usually the guitarists I see talking about them (Chris Parks - "TILF Barry Harris", and Thomas Echols - "Labyrinth of Limitations") usually talk about 4 part harmony. It's cool seeing a jazz guy who has been around a while playing fully voiced piano-like extended chords. I really recommend both of those guys' channels as well if you haven't seen them, Richie.
Min7add21, Maj7b13, and Majb6 could all be derived from the Major 6th Diminished Scale. The 7#11(no 3rd) I would say is from the Dominant Flat Five Diminished Scale. Cheers!
Thanks, will check them out.
Thanks for yet another great lesson Richie!
Fantastic playing and such usable content. Thanks!
Glad it was helpful!
It's a fascinating presentation and insight into Monkist thinking, Richie but these sort of extra tensions beyond the second octave are currently a little too adult for my ear and palate. I'll keep trying though...I'm currently taking (and enjoying) a Monk ensemble class but we're limiting our arrangements to more conventional functional harmony.
I understand and it's perfectly OK for your ear to reject it. It took me years to get into them. Still maybe someday I'll run into you at Monkoholics Anonymous and we'll discuss adult chords! 😄
Absolutely fantastic have a wonderful weekend ❤😊
I’m a long time guitarist and continue to strive to improve after five plus decades of playing I’m feeling drawn to these beautiful tones . I’ve played by ear all my life and I’m studying theory now and really enjoying and improving. Thank you for your video. I’m glad I could find you
Thanks, glad to be of help!
This is really great and quite thought provoking. I recently released a harmonica-adapted collection of Monk tunes called “HarmoniMonk,” and am looking for new dimensions of Monk’s oeuvre to explore for the next volume. I am headed out to your site to purchase the study guides. I’m sure it will be inspirational.
Cool, I look forward to hearing "HarmoniMonk"!
@@RichieZellon ua-cam.com/play/OLAK5uy_nnzKudZTiGUkP6J0RVeXc5EyIZz6PKWLY.html&si=EIuCLPL78sDTt33y
I was kid entering college, listening to heavy metal, hardcore punk, & hip hop. Walked into the library one day and found a Monk bio. Remembered my dad playing Monk around the house (and a ref in a Simpsons ep).
Brought that book home, downloaded some mp3s (Limewire era), and read it every day on bus rides w/ a shabby curated bunch of tracks on a cd as the soundtrack.
Changed my ears and my life
Thats great! Wish there was more exposure to jazz and the arts for younger generations these days.
@@RichieZellon We've got Domi and JD Beck, Thundercat and Kamasi Washington these days. Jazz isn't dead, it just smells funny!
@@kwyatt261 😂
Great hat, dude, and a good jazz brain beneath it. Lovely insight
Thanks, couldn't do it without the hat. It's my mojo! 😁
Absolutley Awesome.
Thanks, glad you enjoyed it!
I think 'Round Midnight is my favorite of his tunes, and one of my all time favorites as well. Although I tend to go for Kenny Burrell's version, as I am a guitar player after all lol
Kenny's version is also one of my favorites by guitarists!
I love chords like this
Would extremely appreciate some Bill Evans chords/phrases!
Sure! Watch this video for starters: ua-cam.com/video/3tKjPNwFjTI/v-deo.html
I knew Monk's grandson ( same name) , he was a good guy ‼️(@ the time I wasn't playing 🎸)
Nice chord.
loved monk as a teen
Yeaahhhh love it
I think part of Monk's harmonic progresssions had to do with contrary motion between parts and that's how some of those dissonances were arrived at. Therefore I don't find it useful just to consider one chord by itself. It was usually part of a progression and sounded better in that context.
I think you misunderstood me. I don't recall having said that as a general statement but instead to explain what was going on in given examples. From the moment I mention contrary motion, I have to be talking about the harmonic context between at least 2 chords, not just one chord like you mention. This is voice leading! That said, you can arrive at a dissonance with any form of voice leading..contrary, parallel,etc. I personally enjoy and find the ones using contrary motion the most interesting and especially unique in Monk's case!
I'm a Monk-aholic, also. Thanks for this, Richie!
Welcome to the club! I guess we're no longer "anonymous" ! 😅
There's a repeated descending chord used over and over in Vangelis' score for Blade Runner. A slide. It's right out of Round Midnight.
Cool!
I’ll come back when I’ll be a guitar grownup, in 50 years or so. Thanks anyway 🙏
👄
Sounds like crap!
Poor Thelonious Monk!
Keep practicing those barre chords. One day, you can catch up to us and our cool chords.🤦
First time i heard Monks music, it was yes