Whoooom! The 19th century is back, where every single musician could improvise, because he or she learned to think harmony the right way! There it is!! Thank you so much, Chris, for passing on Barry´s teaching in such a gentle and precise way!
@@craigmays3098 Generally 1700 - 1930, more specifically 1800 - 1900 (using e.g. Tritone substitution and expanding the harmony in a "romantic" sense ....) Meaning e.g. Bach, Mozart, Beethoven, Chopin, Liszt, Bruckner, they all went to Barry´s class = Barry is teaching the way they thought, which was common in these days. Hopefully in ours soon again!
Excelent Chris, it's true, it's much more simple to think just in the V7 and it generates less anxiety while playing. Chris is it possible that you show us the comping of a blues using the Barry Harris approach? I'd be very useful! Thank you very much for your work, you're awesome!
This is great. I actually taught my student this the other week, because I personally think of it like this, but not in as much detail. Now I am going to steal these ideas! thanks! I totally get the idea though, thinking 2 then 5 then 1 can just be too cluttered in your head. This works so much better for me! just found the channel and subbed! excellent stuff
The genius to me is not just the not thinking ii v but also the three triads. They really create movement … which I’ve been trying to wrap my head around. And I have this amazing Barney kessel phrase from satin doll I love. And it has movement… and guess what it does exactly what you are doing here chris
In addition I asked my instructor about this at the jazz school in Berkeley, CA. "I heard Charlie Parker" thought V for ii-V. Can I play the dominant only on a ii - V. His reply "Yeah if you wanna sound like an asshole!" that deterred me for about 3 years ha ha
Another great lesson! I love the important arpeggios in this conversation, particularly the ones for the tritone, which I'm going to be practicing a lot now
This way of thinking has really opened things up for me. I think people get hung up on root movement. That’s what I hear them reference when critiquing Barry’s thing. I never know exactly what to say to this. I think about it as structures within structures. I love your videos thank you!
Exactly. Just try it. I thought II and V where separate things, and thought things like V7/V -> V7 were "a type of II V" because they fit into the way subdominant and tonic had been explained to me. Preparation of the dominant -> dominant. In that sense V7/V and II(7) were more related to each other than II is to V7. But since I learned to internalize that II is literally just an extended V7 with a sus, and Barry's idea of playing with your siblings, I have been able to learn tunes fastly and correctly, and to through all sorts of substitutions in while also respecting the fundamental harmonic structure of any given tune. Cheers, a thought provoking video.
⭐️⭐️⭐️⭐️⭐️ This explains a common phrase I’ve had in my ears and under my fingers for years...I suppose I just imagined it was good voice-leading but now I understand it’s close relationship with the tritone sub. This classic melodic phrase descends Cm7 arpeggio (Bb G Eb C) then ascends up an A major triad (C# E A) and moves down step wise to G and resolves on F on the Bb7 chord in Bar 5. It reveals to us that instead of just F7 moving to B7, we’re technically moving F9sus to B9sus to arrive at Bb7.
Excellent as always. I was taught the ii V7 approach and I feel constrained by it. Just thinking V to me is a simplification that freed me up. I had heard about this before from something from Joe Pass, but it didn't really hit home until your series of videos. My perception is that my ideas are less constrained by the context, are somewhat longer, and flow better. I'm more musical this way. At least, I think so. :) Thanks again. Great stuff.
I believe this has been asked in the comments under a previous episode about the important arpeggios but not answered... why isnt the arpeggio on the third a important arpeggio since it also contains the tritone? Really love this channel and Barry's method..
3rd to the 9 is great. I was surprised it wasn’t listed too. Although I’ve seen other BH tutorials that use all 4 chords up (F7, A-7b5,C-7,Ebma7) and then back down using the dominant 7 rules. Love this channel, I’ve got so much out of it.
Thank you for this great explanation. I’m loving your channel. I play piano so…. for a 2 5 1 in C, would I only play the G7 chord (or its 1 & 7 shell) in the bass to C major 7? Or would I still play the D minor 7 chord to G7 then to C major 7?
I really like this way of thinking about chord resolutions, it’s already opening up the way I think about harmony... especially when paired with his concept of 4-key “families.” Barry Harris is such a genius. Ever since I discovered him online I’ve affectionately referred to him as “jazz Yoda.” One question comes to mind on the concept though: So, in a 2-5... there’s something like a suspension that resolves... the 7 of 2 to the 3 of 5, right? So for example from Cm7 to F7 Bb falls to A. All the other chord tones of the 2 are basically part of the 5 (if we include the 9th of 5)... and really I guess a natural 11 (Bb) sits fine on a 5 chord anyway (so maybe I just answered my own question) but I wonder if this way of thinking about it accounts for that shift somehow?
Joe Pass told me .. "... there is no II, there is only the V. Funny thing, there is no V. It's all the II." It made some sense in the context.. but then like 20 years later staring at a bathroom wall.. epiphany.
I agree, think V over ii V7 at medium and up-tempos. Personally, I'll sometimes simply just think ii when I am sight-reading changes (sort for the same idea of a simplification but flip-flopped). Barry's advice is an advantage in two-beat pacing, 2 beats per chord, they go by quickly, there's simply no time for two scales, especially when playing quicker tempos. In a slow ballad where you can encounter four slow beats on ii and four slow beats on V7, perhaps it's less important and you have time to think the chord of the moment. Also, those players who are trained to think both ii and V7 can also still think about the tritone stuff on the V7. For example, Monty Alexander showed me that when he sees |C-7 | F7| he can go |C-7 F7 | C#-7 F#7| because that's a tritone substitution scheme.
Excellent lesson (once again). Thank you! For those who are interested: due to Corona Barry is giving online classes (almost every weekend) via Zoom for the last weeks. For more info look up the "Barry Harris Jazz Workshop London"-page on Facebook. It's only 10 dollars per meeting (all proceeds go to Barry). See you there :-)
By playing the 7th of the ii chord down to the 3rd of the V you spell the changes as played by the piano but end up sounding like everybody else. I believe the reason why this is the prescribed method of teaching is for ear training purposes. That said, on bar 4 of an F blues there is got to be an Eb to go from F major (bars 1 and 3 ) to F7 moving to Bb7 in bar 5. Whether that Eb note is the b3 of Cmin or the root of the arpeggio on the 7th of F7 or D# as 3rd of B7 I do not know if it matters as long as the line flows nicely into bar 5.
Great video great series thx! question: I also like to think V instead of ii - V but...here it is...I like altered dominants some of the notes in altered dom phrases clash with the rhythm section if they are playing ii-V...Dom alt tones on G7 alt: Eb makes a flat 9 on Dm7 (phrygian?) ; Bb makes a flat 6 on Dm7 (ok Aeolian) ; Db makes a leading tone on D7 (sounds nice actually); Ab makes a flat 5 on Dm7 (actually Dm7 b5) ... I can't decide for everybody to play V instead of ii - V...so what to do?
Good evening. A question arises for me : on a II - V in Bb Major, if I understood correctly, I only play F7 and its tritonic substitution B7, is that correct? So the Arpeggios of A Major, B Major and F# minor. Won't that sound weird in the bar of C-7?
So in a minor context are you thinking of a diminished triad on the 5 of 5, or a minor triad on the b7 of the dominant? Otherwise, I guess Barry is building from the minor 6th Diminished Scale. That would mean that you could play diminished triads all over the place.... i need to practice.
would it be weird or kind of off to use those "important" arpeggios for any dominant? isnt it really just part of but color tones of the chord? I mean in a lets say blues since thats what youre doing there, use some of the important arppeggios on the eb7(4chord)?
I think you can look at it like there are really only two functions of chords, tonic and dominant. Am I crazy? Example in major scale: I = I ii = V iii = I IV = I or V based on usage vi = I vii° = V
I can't understand the logic behind the 2-5 argument. So according to Barry you can play f 7 all throughout c minor - f7 because they're both in the key of B flat? By that logic you could play f7 over every chord in that key right? Why is the 2 chord especially appropriate for substition by the v chord?
Actually you are correct. You could also play C- dorian throughout the whole passage, or Bb ionian. There are quite a few players who use both these approaches. Some even play the Eb lydian.
Thank you for these awesome videos. I have a question. When you play that A major triad over F7 you mentioned. You are playing natural E ( the fifth of A) over F7 that has a Eb as b7. Is that ok?
You can think about that F7 that goes to Bb7 as a B7 which is a tritone of F7. So you’re using the tritone substitution. And Chris talks about important minor that is basically the II chord. So when you’re thinking about an important minor that comes with B7. You’re find out that it is F#m7. And F#m7 arpeggio includes note E in it. And much simpler explanation lol. Note E is a part of B7 scale.
Id like to share my thoughts over this topic. I believe theres a factor that we should mention and that is Speed or tempo of the song. For example: is you has a I VI IIm V two measures each chord. You can take fare enough time thinking about each chord. Now if you have same chords on measure each can do the same, if I have half measure each then i dont think 2 5 anymore... only 5... And of its one beat each chord I would only think 1.
When you're in any particular key, say C major, then "C" is considered the "1", as it's the first note of the key. The you just count up the notes in the key/scale! So with C major (C, D, E, F, G, A ,B), the "4" in this case is "F".
If You see it as a V only, can you explain a little why does some substitutions don't work? Like playing a sibling ex, Db7 ( G7 tritone substitution) over a D minor?
It could be phrasing, so the shape of the Db7 isn't strong enough to stand over the sound of D minor. But, really, think about the harmonic rhythm. Instead of using a sibling over the ii chord, try the V over the ii, then switch to a sibling over the V. Listen to the harmonic rhythm. If a sound doesn't work, it just doesn't work. Lastly, think about the chord tones. Db7 over D-7 gives you: 3, b5, maj7, and 13. Those are tense colors over a ii chord. You may not be used to hearing those. They sound like diminished notes that need resolution. Putting those tones on strong beats will sound out, but not in a good way. Try putting them on weak beats/passing tones. You may be able to get away with that. Hope that helps.
If you look at American popular song writing early in the 20th century, you'll find that there were no minor seventh chords. None. The first example I've found was from Cole Porter in the late 1920s. When song writers started using minor seventh chords, they basically stuck them into the first half of the dominant chord. So if there was a dominant seventh chord for two bars, they put the ii m7 chord in the first bar. If there was a dominant seventh chord for one bar, they put the ii m7 in the first two beats. So the ii m7 chord was just a substitution for the first half of the V7 chord. All it really did was to add a little harmonic movement and add to the bass line. It really doesn't change the harmonic function, which is V7-I. So yeah, I figured this out a while ago.
Shouldn't we be 'thinking' melody? Let's make a 'big' unaltered G7 chord. G B D F A C E. Why not 'think' IV? We have an F maj 7 built from the 7th of G7. Or why not 'think' of the vi min7? A C E G as we've brought in the 9th, 11th, and 13th above G. Why are 'thinking' about ii - V at all?
4 роки тому
Tal farlow did the same thing. Both bud Powell fans
Hey, Nice Video, quick question: do you look at the sheet before you can know when there's a ii-V or do you just know it intuitively? Also :) what do you play on a I chord? Are there half step rules for that and important arpeggios? Cheers
Q1 = You must know the changes before having an attempt at improv (it’s impossible to improv over changes you don’t know). Q2 = half step between 5 & 6 (of course there are other notes you can add besides this particular one) PS: I hope Chris gives an in-depth answer to your Qs 😉
Chris, good evening sir! i have been watching your videos for a long time, and could you tell me where can i find a video where you talk about the movement that happens in the 8th and 9th bars, i think in the case of F, the chord would be the D7. there are few videos on you tube about this movement, and it is a really important one because it is the part in the jazz blues that stands out from the traditional 12 bar blues. that going to the VI(sixth). i am not sure i wrote that correctly but it is a very important movement, do you know Chris where is it? thank you sir! you're the greatest teacher
chris i have found two places in which you speak of going to the VI chord on a blues, i'll type them down in case anyone happens to be taking a look at that movement during their practice time:) Scales on the Blues Revisited EP 100 Middle of a Blues: Bars 5 thru 8 Ep.58 in this two episodes, examples of going to the VI chord in a Jazz Blues are shown by Chris extensively
Whoooom! The 19th century is back, where every single musician could improvise, because he or she learned to think harmony the right way! There it is!! Thank you so much, Chris, for passing on Barry´s teaching in such a gentle and precise way!
Do you mean 1800's or 1900's?
@@craigmays3098 Generally 1700 - 1930, more specifically 1800 - 1900 (using e.g. Tritone substitution and expanding the harmony in a "romantic" sense ....) Meaning e.g. Bach, Mozart, Beethoven, Chopin, Liszt, Bruckner, they all went to Barry´s class = Barry is teaching the way they thought, which was common in these days. Hopefully in ours soon again!
When something is less complicated, sounds great & still has a lot of options, it definitely has my vote!
Brilliant!
I usually watch yours lessons in bed.And I cant wait to get up next day morning to try
Excelent Chris, it's true, it's much more simple to think just in the V7 and it generates less anxiety while playing. Chris is it possible that you show us the comping of a blues using the Barry Harris approach? I'd be very useful! Thank you very much for your work, you're awesome!
I love that using the Tri Tone as well really opens things up !~!
This is great. I actually taught my student this the other week, because I personally think of it like this, but not in as much detail. Now I am going to steal these ideas! thanks! I totally get the idea though, thinking 2 then 5 then 1 can just be too cluttered in your head. This works so much better for me! just found the channel and subbed! excellent stuff
The genius to me is not just the not thinking ii v but also the three triads. They really create movement … which I’ve been trying to wrap my head around. And I have this amazing Barney kessel phrase from satin doll I love. And it has movement… and guess what it does exactly what you are doing here chris
Once again, thank you so much for a great presentation. Barry's idea is clear, uncomplicated and sounds fabulous.
In addition I asked my instructor about this at the jazz school in Berkeley, CA. "I heard Charlie Parker" thought V for ii-V. Can I play the dominant only on a ii - V. His reply "Yeah if you wanna sound like an asshole!" that deterred me for about 3 years ha ha
Barry Harris plays V instead of ii V. I'm going with him.
That`s what Joe Pass always said, forget the 2, play the 5. Great stuff !
I enjoy hearing the acoustic
Thank you man, you're a great teacher..you explained everything perfectly.. I mean explaining a concept is hard, but you did super good👍
Thanks
Another great lesson! I love the important arpeggios in this conversation, particularly the ones for the tritone, which I'm going to be practicing a lot now
I agree completely - any harmonic movement is a variation of either a perfect or plagal cadence: tension, release and the Blues ("Axis Theory"?)
This way of thinking has really opened things up for me. I think people get hung up on root movement. That’s what I hear them reference when critiquing Barry’s thing. I never know exactly what to say to this. I think about it as structures within structures. I love your videos thank you!
Fantastic stuff here! Gotta love Barry's approach, what an amazing human! Thanks 😁🙌🏼
He really is. The Master.
Exactly. Just try it. I thought II and V where separate things, and thought things like V7/V -> V7 were "a type of II V" because they fit into the way subdominant and tonic had been explained to me. Preparation of the dominant -> dominant. In that sense V7/V and II(7) were more related to each other than II is to V7. But since I learned to internalize that II is literally just an extended V7 with a sus, and Barry's idea of playing with your siblings, I have been able to learn tunes fastly and correctly, and to through all sorts of substitutions in while also respecting the fundamental harmonic structure of any given tune. Cheers, a thought provoking video.
I think playing around with those arpeggios is what really brings this concept home for me. Especially the tritone arpeggios!
Absolutely. Or try arpeggios of all the dominant family ... 👌🏽
⭐️⭐️⭐️⭐️⭐️
This explains a common phrase I’ve had in my ears and under my fingers for years...I suppose I just imagined it was good voice-leading but now I understand it’s close relationship with the tritone sub.
This classic melodic phrase descends Cm7 arpeggio (Bb G Eb C) then ascends up an A major triad (C# E A) and moves down step wise to G and resolves on F on the Bb7 chord in Bar 5.
It reveals to us that instead of just F7 moving to B7, we’re technically moving F9sus to B9sus to arrive at Bb7.
Thank You again for these!
Helpful. Thank you so much for sharing. God bless you
Hi from France, thanks a lot for all..
Excellent as always. I was taught the ii V7 approach and I feel constrained by it. Just thinking V to me is a simplification that freed me up. I had heard about this before from something from Joe Pass, but it didn't really hit home until your series of videos. My perception is that my ideas are less constrained by the context, are somewhat longer, and flow better. I'm more musical this way. At least, I think so. :) Thanks again. Great stuff.
This is interesting, Joe Pass in one of his lesson also mentioned to ignore the 2 and think of 5.. hmm , thanks for doing this.. great lessons
I believe this has been asked in the comments under a previous episode about the important arpeggios but not answered... why isnt the arpeggio on the third a important arpeggio since it also contains the tritone? Really love this channel and Barry's method..
I always wonder this. I use it a lot myself.
3rd to the 9 is great. I was surprised it wasn’t listed too. Although I’ve seen other BH tutorials that use all 4 chords up (F7, A-7b5,C-7,Ebma7) and then back down using the dominant 7 rules. Love this channel, I’ve got so much out of it.
Terrific lessons and insight. Thanks, Chris!
Just found your channel, great idea! Barry is such an endless source of knowledge.
Awesome episode! So much clarity, honesty and very musical diplomacy, all supported with your beautiful lines. Thank you!
Chris i have turned so many people onto you.. I hope some will take up your lessons to thx ALOT !
simply WOW! thanks
#I'mWithThem
This is an awesome lesson and extremely helpful in opening up new sounds. Still can't get the tritone to sound convincing but hey!
Thank you for this great explanation. I’m loving your channel. I play piano so…. for a 2 5 1 in C, would I only play the G7 chord (or its 1 & 7 shell) in the bass to C major 7? Or would I still play the D minor 7 chord to G7 then to C major 7?
I really like this way of thinking about chord resolutions, it’s already opening up the way I think about harmony... especially when paired with his concept of 4-key “families.”
Barry Harris is such a genius. Ever since I discovered him online I’ve affectionately referred to him as “jazz Yoda.” One question comes to mind on the concept though:
So, in a 2-5... there’s something like a suspension that resolves... the 7 of 2 to the 3 of 5, right? So for example from Cm7 to F7 Bb falls to A. All the other chord tones of the 2 are basically part of the 5 (if we include the 9th of 5)... and really I guess a natural 11 (Bb) sits fine on a 5 chord anyway (so maybe I just answered my own question) but I wonder if this way of thinking about it accounts for that shift somehow?
Good stuff Chris. As someone who used to think II V, I have found Barrys way more logical.
It’s all V-I baby
Joe Pass told me .. "... there is no II, there is only the V. Funny thing, there is no V. It's all the II."
It made some sense in the context.. but then like 20 years later staring at a bathroom wall.. epiphany.
I agree, think V over ii V7 at medium and up-tempos. Personally, I'll sometimes simply just think ii when I am sight-reading changes (sort for the same idea of a simplification but flip-flopped). Barry's advice is an advantage in two-beat pacing, 2 beats per chord, they go by quickly, there's simply no time for two scales, especially when playing quicker tempos. In a slow ballad where you can encounter four slow beats on ii and four slow beats on V7, perhaps it's less important and you have time to think the chord of the moment. Also, those players who are trained to think both ii and V7 can also still think about the tritone stuff on the V7. For example, Monty Alexander showed me that when he sees |C-7 | F7| he can go |C-7 F7 | C#-7 F#7| because that's a tritone substitution scheme.
Excellent lesson (once again). Thank you! For those who are interested: due to Corona Barry is giving online classes (almost every weekend) via Zoom for the last weeks. For more info look up the "Barry Harris Jazz Workshop London"-page on Facebook. It's only 10 dollars per meeting (all proceeds go to Barry). See you there :-)
Yeah Man! I hope there is one this week.
One teacher I had said ‘ignore the subdominant’
By playing the 7th of the ii chord down to the 3rd of the V you spell the changes as played by the piano but end up sounding like everybody else.
I believe the reason why this is the prescribed method of teaching is for ear training purposes.
That said, on bar 4 of an F blues there is got to be an Eb to go from F major (bars 1 and 3 ) to F7 moving to Bb7 in bar 5. Whether that Eb note is the b3 of Cmin or the root of the arpeggio on the 7th of F7 or D# as 3rd of B7 I do not know if it matters as long as the line flows nicely into bar 5.
Great video great series thx! question: I also like to think V instead of ii - V but...here it is...I like altered dominants some of the notes in altered dom phrases clash with the rhythm section if they are playing ii-V...Dom alt tones on G7 alt: Eb makes a flat 9 on Dm7 (phrygian?) ; Bb makes a flat 6 on Dm7 (ok Aeolian) ; Db makes a leading tone on D7 (sounds nice actually); Ab makes a flat 5 on Dm7 (actually Dm7 b5) ... I can't decide for everybody to play V instead of ii - V...so what to do?
For G7 Barry plays Ab minor6th diminished (tritones minor)
Good evening.
A question arises for me : on a II - V in Bb Major, if I understood correctly, I only play F7 and its tritonic substitution B7, is that correct?
So the Arpeggios of A Major, B Major and F# minor.
Won't that sound weird in the bar of C-7?
So in a minor context are you thinking of a diminished triad on the 5 of 5, or a minor triad on the b7 of the dominant? Otherwise, I guess Barry is building from the minor 6th Diminished Scale. That would mean that you could play diminished triads all over the place.... i need to practice.
would it be weird or kind of off to use those "important" arpeggios for any dominant? isnt it really just part of but color tones of the chord? I mean in a lets say blues since thats what youre doing there, use some of the important arppeggios on the eb7(4chord)?
I think you can look at it like there are really only two functions of chords, tonic and dominant. Am I crazy? Example in major scale:
I = I
ii = V
iii = I
IV = I or V based on usage
vi = I
vii° = V
Same applies for mini 251?
I can't understand the logic behind the 2-5 argument. So according to Barry you can play f 7 all throughout c minor - f7 because they're both in the key of B flat? By that logic you could play f7 over every chord in that key right? Why is the 2 chord especially appropriate for substition by the v chord?
Actually you are correct. You could also play C- dorian throughout the whole passage, or Bb ionian. There are quite a few players who use both these approaches. Some even play the Eb lydian.
Great! Now I just gotta transcribe your lines.
Who hit the thumps down ?
Why would you do a Thing like that???
Thank you for these awesome videos. I have a question. When you play that A major triad over F7 you mentioned. You are playing natural E ( the fifth of A) over F7 that has a Eb as b7. Is that ok?
Does it sound good?
You can think about that F7 that goes to Bb7 as a B7 which is a tritone of F7. So you’re using the tritone substitution. And Chris talks about important minor that is basically the II chord. So when you’re thinking about an important minor that comes with B7. You’re find out that it is F#m7. And F#m7 arpeggio includes note E in it.
And much simpler explanation lol.
Note E is a part of B7 scale.
Id like to share my thoughts over this topic. I believe theres a factor that we should mention and that is Speed or tempo of the song. For example: is you has a I VI IIm V two measures each chord. You can take fare enough time thinking about each chord. Now if you have same chords on measure each can do the same, if I have half measure each then i dont think 2 5 anymore... only 5... And of its one beat each chord I would only think 1.
Would it be just as good to think only in terms of the II-7 instead?
That's what I thought. Guitar lends itself to minor much easier.
hi sir @,2:50 what does "4" mean
When you're in any particular key, say C major, then "C" is considered the "1", as it's the first note of the key. The you just count up the notes in the key/scale! So with C major (C, D, E, F, G, A ,B), the "4" in this case is "F".
ahhh ok sir thankyouu!
If You see it as a V only, can you explain a little why does some substitutions don't work? Like playing a sibling ex, Db7 ( G7 tritone substitution) over a D minor?
It could be phrasing, so the shape of the Db7 isn't strong enough to stand over the sound of D minor. But, really, think about the harmonic rhythm. Instead of using a sibling over the ii chord, try the V over the ii, then switch to a sibling over the V. Listen to the harmonic rhythm. If a sound doesn't work, it just doesn't work. Lastly, think about the chord tones. Db7 over D-7 gives you: 3, b5, maj7, and 13. Those are tense colors over a ii chord. You may not be used to hearing those. They sound like diminished notes that need resolution. Putting those tones on strong beats will sound out, but not in a good way. Try putting them on weak beats/passing tones. You may be able to get away with that. Hope that helps.
Thanks a lot. Nice stuff as always. One question: in a Dm7 whitout dominant, Which scale Barry uses?
You always have to look at “where” that minor 7th is going. So where is that Dm7 going?
If you look at American popular song writing early in the 20th century, you'll find that there were no minor seventh chords. None. The first example I've found was from Cole Porter in the late 1920s. When song writers started using minor seventh chords, they basically stuck them into the first half of the dominant chord. So if there was a dominant seventh chord for two bars, they put the ii m7 chord in the first bar. If there was a dominant seventh chord for one bar, they put the ii m7 in the first two beats. So the ii m7 chord was just a substitution for the first half of the V7 chord. All it really did was to add a little harmonic movement and add to the bass line. It really doesn't change the harmonic function, which is V7-I. So yeah, I figured this out a while ago.
No. Gershwin used them plenty
Shouldn't we be 'thinking' melody?
Let's make a 'big' unaltered G7 chord. G B D F A C E. Why not 'think' IV? We have an F maj 7 built from the 7th of G7. Or why not 'think' of the vi min7? A C E G as we've brought in the 9th, 11th, and 13th above G. Why are 'thinking' about ii - V at all?
Tal farlow did the same thing. Both bud Powell fans
Hey, Nice Video, quick question: do you look at the sheet before you can know when there's a ii-V or do you just know it intuitively? Also :) what do you play on a I chord? Are there half step rules for that and important arpeggios? Cheers
Q1 = You must know the changes before having an attempt at improv (it’s impossible to improv over changes you don’t know).
Q2 = half step between 5 & 6 (of course there are other notes you can add besides this particular one)
PS: I hope Chris gives an in-depth answer to your Qs 😉
Brother Caleb thanks so much
Even Joe Pass said the same thing..
Wow! Again, your lines really sound a lot like bird's!
how can I contact you Chris?
chrisparksjazz22@gmail.com
Chris, good evening sir! i have been watching your videos for a long time, and could you tell me where can i find a video where you talk about the movement that happens in the 8th and 9th bars, i think in the case of F, the chord would be the D7.
there are few videos on you tube about this movement, and it is a really important one because it is the part in the jazz blues that stands out from the traditional 12 bar blues. that going to the VI(sixth). i am not sure i wrote that correctly but it is a very important movement, do you know Chris where is it? thank you sir! you're the greatest teacher
chris i have found two places in which you speak of going to the VI chord on a blues, i'll type them down in case anyone happens to be taking a look at that movement during their practice time:)
Scales on the Blues Revisited EP 100
Middle of a Blues: Bars 5 thru 8 Ep.58
in this two episodes, examples of going to the VI chord in a Jazz Blues are shown by Chris extensively