You need to break the rules of Jazz harmony to play like Charlie Parker and Michael Brecker!
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- Опубліковано 4 жов 2024
- 8 turnaround possibilities every budding Jazz player needs to know- that you can superimpose on top of the regular chord changes, even though it is not strictly correct academically as they create dissonances and non chord tones etc!
1. Diatonic
2. VI7 chord
3. II7 chord
4. biii diminished 7
5. #i diminished 7
6. biii minor 7
7. Altered chord
8. Sub V7 applied
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My name is Nick Homes. I am a non genius musician who struggled for many years to find out the secrets of jazz improvisation. Throughout 40 years of playing, and obsessive investigation I have focussed on building systems of learning for my students so they can improve , and reach their learning goals with the highest probability whilst having fun!
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#jazz #rhythm #saxophone
Dude, you are a hell of player. You are so in tune and in time.
Thanks Nick. Always grateful for the value I get from your channel. This has definitely opened a door for me.
Not a single one of those concepts break any "jazz rules". Every one of those concepts has already been codified and they're taught everywhere.
Young jazz students are often taught to find the correct mode for each chord and play only the notes from that scale. Those are the rules for them, and it's fairly hard to learn even that.
His point is you can use these substitutions even when they're not written into the changes. ie, as a soloist, you can look at Gm7 and play G7 instead.
This might sound obvious to you but it took me and I'm sure others a lot of time to understand that you don't have to wait for the piano player to start playing G7 to do it yourself.
In this short he's playing with the most unhelpful guitar player in the world, not catching onto any of the substitutions he's making and playing the same unaltered chords. But it still works!
This is a very useful lesson imo.
I love your lessons❤❤❤❤❤ thank you very much ❤❤❤❤❤❤❤😂
Fantastic subs Matey 👏👍
Agreed!
You are absolutely fantastic mate.
That's a great demo
Nice summary.
GREAT !!!
I love this!
Brilliant
Dont think of the vi7 chord as a vi chord, think of it as a an applied dominant relative to ii (c minor). So its really a first inversion dominant 7th chord with the 6th scale degree as the root, and can be written as V6/ii, identifying that it is the dominant of the ii, if that were the new tonic
Thank you for sharing your perspective.
While your explanation is intriguing, it appears a bit confusing and doesn't quite align with the correct understanding of chord functions.
It would be great if you could provide some musical examples to illustrate this concept further. Or perhaps even a video. Musical theory is such a dynamic field, and it's wonderful to explore various viewpoints and interpretations.
@@JazzDuets you're right i didn't do a good job of explaining context, my bad. i'm coming at functional harmony from a classical music perspective. The lens of looking at things as applied dominants is huge for understanding phrase structure, and applying that the this jazz phrase, it would understand the accidentals added to that chord as turning it into an applied dominant. This turn of phrase is used often by Mozart and contemporaries, when they will write a phrase like I-I-IV-V-I, and then they will repeat the phrase with a modified harmonic structure of I-V6/ii-ii-V-I, to make the repeat feel more active. and i didn't mean to use such directive language, in music theory everything is just a way of looking at things, there's no absolute truth.
also when I'm writing a chord as V6/ii, it means "chord with V as the root, but voiced with a 6th above the bass, making it first inversion with #I in the bass voice", which is how I was taught to notate chords in music theory, which I know is different from the way they do it in jazz
Savage
Sounds like that's what Bird was doing LOL.
Why does biii dim go to ii. I thought maybe it would be B dim because that makes a g7b9 to go to the C min ii chord
there is a more efficient method