I have an obsession in my improvisation that in that first phrase, after the final C i wanna play an A below that Bb that was left "hanging". I know it's cool to sometimes leave notes unresolved. I gotta work on that. But my suspicion is that Bud also plays an A pretty soon after the bit that you transcribed there. Is that correct?
why so you call it c# dim6? Only curious. I would have said F6 and Gdim7 ( yes I know c# dim is the same as g dim) wondering how you are thinking about it
@@EdGentry 5:38 I think OP is talking about this scale. Barry would think of this as a C#m6 diminished scale. The only difference being that Barry thought of the scale as two chords (C#m6 and Cdim7, hence the name m6 diminished) so there would be an added b6, coming from the relative diminished.
Instead of as an arpeggio on the sixth chord of the scale, I can’t help thinking of it as an arpeggio on the Gm7, starting on the fifth going up to the 11th, or to the root of V7. It seems to make more sense, for me, than playing the vi chord over the ii chord.
Yep we can “spell” these things lots of ways, it’s what ever helps us to be able to compose in real time. I think these days I think of them differently depending on the context. It’s the same notes but I think you can get a different emphasis/sound in different harmonic settings if you are thinking of them on one way or another.
Great lesson! Got me thinking about the second phrase though... Wasn't Bud thinking Ab as the 13th of C7 and Db as the flatted 9th? At least for me it seems to make more sense to approach it like that, since those notes are very common extensions to the dominant chord. Might be wrong though. And then the F# would be just a chromatic enclosure to I (F).
There’s no way to know, but I would bet really heavy that he was thinking Gb7#11 (flat five sub). It’s a substitution where the C7 is replaced by Gb7 which creates the alterations automatically. It’s simply a dominant seventh chord a half step up from the 1 chord.
What Bud does here has become a frequently used, even cliché, jazz way of approaching the I chord. It consist of using the non diatonic notes b6, b3 and b2 of the tonic scale (in F major in the example) over the V chord, which creates that sweet, melancholic dominant sound that characterizes jazz music. From the theoretical point of view there is a very logical explanation for why this works.
My kind of lesson. Actual practical advice - analysing the giants of the music.
It doesn’t get any better than this. 👏🏽👏🏽👏🏽👏🏽👏🏽
I have an obsession in my improvisation that in that first phrase, after the final C i wanna play an A below that Bb that was left "hanging". I know it's cool to sometimes leave notes unresolved. I gotta work on that. But my suspicion is that Bud also plays an A pretty soon after the bit that you transcribed there. Is that correct?
I'm so brainwashed into the Barry Harris system that I automatically looked at that scale as a minor C# 6 dim scale without the added note 😅
why so you call it c# dim6? Only curious. I would have said F6 and Gdim7 ( yes I know c# dim is the same as g dim) wondering how you are thinking about it
@@EdGentry 5:38 I think OP is talking about this scale. Barry would think of this as a C#m6 diminished scale. The only difference being that Barry thought of the scale as two chords (C#m6 and Cdim7, hence the name m6 diminished) so there would be an added b6, coming from the relative diminished.
Instead of as an arpeggio on the sixth chord of the scale, I can’t help thinking of it as an arpeggio on the Gm7, starting on the fifth going up to the 11th, or to the root of V7. It seems to make more sense, for me, than playing the vi chord over the ii chord.
Yep we can “spell” these things lots of ways, it’s what ever helps us to be able to compose in real time. I think these days I think of them differently depending on the context. It’s the same notes but I think you can get a different emphasis/sound in different harmonic settings if you are thinking of them on one way or another.
Fantastic lesson. Practical ideas that will build my core skills and confidence. I love these lessons. 🎹😀
Thank you. I'm happy to have you here!
I play guitar and l find very usefull things for my instrument
Super bite sized view, but showing us how to work this sort of material. Take this seed plant it and see all the options grow❤
So nicely explained and helpful
Nice
Your explanation and examples helps me understand and perfect my weakness thank you
😅😅😅great teacher always
Great😊
I need this especially for today’s mordern pop music when being told to solo in a random spot!!!
These videos have done so much to demystify Jazz for me. Thank you, Shan!
Amazizinzing Mr. Shan
What a great analysis - sharing your insights and understandings is a lovely gift. Thank you.
You are so welcome
I love these vids!
Great lesson!
Got me thinking about the second phrase though... Wasn't Bud thinking Ab as the 13th of C7 and Db as the flatted 9th?
At least for me it seems to make more sense to approach it like that, since those notes
are very common extensions to the dominant chord. Might be wrong though.
And then the F# would be just a chromatic enclosure to I (F).
There’s no way to know, but I would bet really heavy that he was thinking Gb7#11 (flat five sub). It’s a substitution where the C7 is replaced by Gb7 which creates the alterations automatically. It’s simply a dominant seventh chord a half step up from the 1 chord.
Extensions are fake
What Bud does here has become a frequently used, even cliché, jazz way of approaching the I chord. It consist of using the non diatonic notes b6, b3 and b2 of the tonic scale (in F major in the example) over the V chord, which creates that sweet, melancholic dominant sound that characterizes jazz music. From the theoretical point of view there is a very logical explanation for why this works.
always so helpful. Thanks.
I'm so pleased you're finding the lessons helpful. Thanks!
Great way to cut the phrases up into re-combinable elements.
Lovely! Thank you!
My pleasure!