Rewatched and grabbed the Kofi file. This captures something that seems to get missed with a lot of the consumers of the Linear Expressions DVD/booklet (self included). Pat's taking his minor language and doing the various transpositions and conversions, and they sound so damn good. Minor or no modifications and they work so well in all the other contexts... But that's a far sight from declaring every major ii V in sight "ii dorian" and every minor ii V ii "locrian #2" and claiming to understand Pat's minor conversion... I was definitely that bum for too long. 😅Your resources are awesome, thanks for making the various PDFs/PPTs available!
Thanks! Yes that sort of thing is to me missing the point. The point is not harmony, the point is lines and language! But so often discussions of improvisation in jazz become discussions purely about harmony, which is important, but only one part of what we do.
@@JazzGuitarScrapbook I have a question regarding your explanations starting from approx. 9:20. You refer to a "D minor major 7 sound", but as far as I can tell you play *Db* minor major 7, resolving to Abmaj (which also fits to Charlie Christian playing Eb7, and what you say at approx. 8:58 "always play the minor chord a [whole] step down from the dominant"). A related question: do the two chord charts at approx. 9:30 refer to C minor? If yes, the right chart should have the black dot on the E-string, and should be on fret 7. Am I right? Thanks again for the great video and these beautiful lines and sounds.
Cool idea! Experimenting with the 'minor on dominant' example, it seems to work equally well with any transposition that ends the lick on a chord tone. Your lick in Fm over Bb7 ends with walking down to the 3rd of Bb7, which sounds great, but equally so does playing it in Abm and ending on the 5, or Dbm ending on the root, etc. Sometimes it feels like we can get away with anything as long as it ends on a chord tone.
Greetings from France , very great and useful lesson,this is what students need to progress ... A simple and clear way to make jazz improvisation easy understandable and drinkable...Sorry for my english!Have a good day...
I have a question regarding your explanations starting from approx. 9:20. You refer to a "D minor major 7 sound", but as far as I can tell you play *Db* minor major 7, resolving to Abmaj (which also fits to Charlie Christian playing Eb7, and what you say at approx. 8:58 "always play the minor chord a [whole] step down from the dominant"). A related question: do the two chord charts at approx. 9:30 refer to C minor? If yes, the right chart should have the black dot on the E-string, and should be on fret 7. Am I right? Thanks again for the great video and these beautiful lines and sounds.
Hi again! Thanks for your fast resopnsiveness in the comments!I had hard times unterstanding the problem of Bm over E7 (where a E7b9 sound would be more "diatonic" in key of C) in the All of Me example, but now I think I got it. Couldn't the same be said about the A7? That a A7b13 sound would be more diatonic and therefore the Em lick could also not fit (it contais F# and D# and C#) for example? Or is there some difference between how to handle an III7 in comparison to a VI7? Aren't they more or less equivalent in the sounds/scales to be typically to played over? both being secondary dominants, for example. Or are the "correct/diatonic" scales to play over different for these two typically?
Great video! Django was already doing a simplified version of a couple of these (vim or iiim over I, v6m over V7) by the late 30s. No question, though, that the boppers took it to a different level.
For sure! Actually I could have swapped the Django examples for CC, he does all the same tricks with the m6. Also Lester Young. Probably goes back earlier.
Those minor licks seems to be a movement to either the 3rd in dominants 7th chords or runs to the flat 7 of that chord in a kinda altered way. Nice. Thanks!
Hi! Thanks for the useful lesson! I guess in the section on the half dim, where you talk about the minor one step down the dominant, over the Eb7 in Charlie Christian's solo you probably mean Db min, not D min? Db min maj7 would give the 13 b9 sus sound over Eb7 I think.
Hi again! I think at around 11:30 where you explain that what you can do on minor can also be done on major, the licks you play over cm7 F7 are in ebm7 gbm7, not fm7 abm7 as written in the tab, is that correct? So for the licks one can consider a major ii V, here cm7 F7, simply as a minor ii V with the same roots, so here as cm7b5 F7?
Apologies about the slightly glitchy video. It is in fact my camera doing weird stuff - you do not need to contact a medical professional.
Rewatched and grabbed the Kofi file. This captures something that seems to get missed with a lot of the consumers of the Linear Expressions DVD/booklet (self included). Pat's taking his minor language and doing the various transpositions and conversions, and they sound so damn good. Minor or no modifications and they work so well in all the other contexts...
But that's a far sight from declaring every major ii V in sight "ii dorian" and every minor ii V ii "locrian #2" and claiming to understand Pat's minor conversion... I was definitely that bum for too long. 😅Your resources are awesome, thanks for making the various PDFs/PPTs available!
Thanks! Yes that sort of thing is to me missing the point. The point is not harmony, the point is lines and language! But so often discussions of improvisation in jazz become discussions purely about harmony, which is important, but only one part of what we do.
Thanks! It's amazing how much useful information packed in that video.
Thanks for your kind donation! Glad you found it useful.
@@JazzGuitarScrapbook I have a question regarding your explanations starting from approx. 9:20. You refer to a "D minor major 7 sound", but as far as I can tell you play *Db* minor major 7, resolving to Abmaj (which also fits to Charlie Christian playing Eb7, and what you say at approx. 8:58 "always play the minor chord a [whole] step down from the dominant").
A related question: do the two chord charts at approx. 9:30 refer to C minor? If yes, the right chart should have the black dot on the E-string, and should be on fret 7. Am I right?
Thanks again for the great video and these beautiful lines and sounds.
@@agindertube yes on both counts - I think another commenter pointed that out elsewhere in the comments
Cool idea!
Experimenting with the 'minor on dominant' example, it seems to work equally well with any transposition that ends the lick on a chord tone. Your lick in Fm over Bb7 ends with walking down to the 3rd of Bb7, which sounds great, but equally so does playing it in Abm and ending on the 5, or Dbm ending on the root, etc.
Sometimes it feels like we can get away with anything as long as it ends on a chord tone.
Greetings from France , very great and useful lesson,this is what students need to progress ... A simple and clear way to make jazz improvisation easy understandable and drinkable...Sorry for my english!Have a good day...
Thanks!
Minor chord step down from the dominant = back door dominant sound
I have a question regarding your explanations starting from approx. 9:20. You refer to a "D minor major 7 sound", but as far as I can tell you play *Db* minor major 7, resolving to Abmaj (which also fits to Charlie Christian playing Eb7, and what you say at approx. 8:58 "always play the minor chord a [whole] step down from the dominant").
A related question: do the two chord charts at approx. 9:30 refer to C minor? If yes, the right chart should have the black dot on the E-string, and should be on fret 7. Am I right?
Thanks again for the great video and these beautiful lines and sounds.
Thank you sir. You make wonderful videos
Hi again! Thanks for your fast resopnsiveness in the comments!I had hard times unterstanding the problem of Bm over E7 (where a E7b9 sound would be more "diatonic" in key of C) in the All of Me example, but now I think I got it.
Couldn't the same be said about the A7? That a A7b13 sound would be more diatonic and therefore the Em lick could also not fit (it contais F# and D# and C#) for example?
Or is there some difference between how to handle an III7 in comparison to a VI7? Aren't they more or less equivalent in the sounds/scales to be typically to played over? both being secondary dominants, for example. Or are the "correct/diatonic" scales to play over different for these two typically?
@@gmitter-sl3qq in this case it’s just cut and paste. Yea what is true of the E7 is also true of A7.
Yes - anything to excape the diatonic trap. Very interesting.
Hi Christian . I discovered your channel and it's a Gold mine . Thanks a lot for all you make
Thanks Patrick!
Great video! Django was already doing a simplified version of a couple of these (vim or iiim over I, v6m over V7) by the late 30s. No question, though, that the boppers took it to a different level.
For sure! Actually I could have swapped the Django examples for CC, he does all the same tricks with the m6. Also Lester Young. Probably goes back earlier.
Those minor licks seems to be a movement to either the 3rd in dominants 7th chords or runs to the flat 7 of that chord in a kinda altered way. Nice. Thanks!
Hi! Thanks for the useful lesson! I guess in the section on the half dim, where you talk about the minor one step down the dominant, over the Eb7 in Charlie Christian's solo you probably mean Db min, not D min? Db min maj7 would give the 13 b9 sus sound over Eb7 I think.
Yes that would make more sense lol
Hi again!
I think at around 11:30 where you explain that what you can do on minor can also be done on major, the licks you play over cm7 F7 are in ebm7 gbm7, not fm7 abm7 as written in the tab, is that correct? So for the licks one can consider a major ii V, here cm7 F7, simply as a minor ii V with the same roots, so here as cm7b5 F7?
@@gmitter-sl3qq you are right. I don’t know why I transposed those licks up a tone (the tab is wrong too)
Love the boom!
Great stuff 👍! I think Pat Azzara (Martino) used to call this 'minorising' chords.
More musical room setup ... Good !!!
I’ll get some Marshall stacks back in there…
Thanks for this. By the way, what's that Sonny Stitt track (07:57)?
@@dividedwords all of me
❤️
Was that Charlie Christian bit from his solo on Rose Room?
Yes
It originated with Debussy.
@@trabrex7697 sorry what did?
Wes did this too
YES
Can you play a dom 7 over a minor 7?
You can. Like you can play any note over any chord. But Playing dom 7 over minor needs resolvement to flat 3rd imo
Absolutely. G7 on Dm for instance