Hi Nick, Hi Nick. Thank-you for illuminating the structures behind the backdoor dominant, an area that I’ve tended to gloss over in the past. You mentioned Miles’ ‘Half Nelson’ as sharing the same progression. Dexter Gordon’s album ‘More Power’ has him paired up with James Moody. The opening track is ‘Ladybird/Half Nelson’, with Dexter and James playing the two melodies concurrently. Dexter is in the right channel playing ‘Half Nelson’, and James is in the left channel playing ‘Ladybird’. Truly a delight!
Excellent analysis, Nick, in language most people can understand. Sure, the other comments here regarding analysis possibilities are correct, but I think the point of teaching is making it as accessible as possible to the majority of musicians who want to be able to play the piece. (This is coming from someone who has a Ph.D. in music theory, but I always try to make analysis as simple as possible or you lose your audience and the point of teaching to others!) Well done, my friend!
Thanks so much for the kind words! I agree with you. The simpler we can make it, the sooner we can actually start conceptualizing and experimenting with what we want to play over it which is the whole point imho :)
Hi Nick… Back door ii V. I have been in a quandary about this and I think I will watch this about 50 more times and it might sink in. Great video. I appreciate the analysis. Very helpful. Looking forward to learning the melody and doing some shedding on this. Thanks so much!!!
Great. A think the final turnaround it’s actually one of the many variations of the I vi ii V progression. In this case the vi, ii and V replaced by their tritone subs with a maj7 structure. Beautiful move. Thanks for the video!
Thanks for posting this tutorial, Nick. It would be nice if you had discussed/delved into the 4 chord device at the end of the song a bit longer. It's not clear what the thinking is for the the harmonic chord movement. Is it simply yet another device we should try to remember or is there a reasoning for this kind of progression?
Could just be a beautiful sounding progression. I think it’s tough when we try to make absolute sense of everything. But there is a lot of structure there with the fourths happening starting on the Eb chord
Another way of thinking about it is in the key of C major, a minor is the relative minor and Bb7 which is the back door V7 of C major is the tritone sub V of the a minor. C major 6 IS a minor so it works for that reason as well. Hope that makes sense. 😊
@@nickmainella Sounds interesting to me. The I to the IV is a crucial cadence in any key, major or minor--just as you explained in your video. Another way to think of that Bb7 is as part of the diminished family and it's associated dominant chords. If we think of the basic V to I, that's G7 to Cmaj. G7 is related to Bb7 Db7 and E7 through the diminished (Ab Diminished). Fun to mix the sounds of those dominants and play into one from another (G7 to Bb7 to Cmajor, for instance).
Amazing channel !! We need more standards !! I really love your serie of analysing standards + the etudes ! Just waw man ! Thanks a lot
Hi Nick,
Hi Nick. Thank-you for illuminating the structures behind the backdoor dominant, an area that I’ve tended to gloss over in the past. You mentioned Miles’ ‘Half Nelson’ as sharing the same progression. Dexter Gordon’s album ‘More Power’ has him paired up with James Moody. The opening track is ‘Ladybird/Half Nelson’, with Dexter and James playing the two melodies concurrently. Dexter is in the right channel playing ‘Half Nelson’, and James is in the left channel playing ‘Ladybird’. Truly a delight!
Awesome! Though I'm a huge Dexter fan, I don't think I've heard that recording. Thanks a bunch 🙏
Excellent analysis, Nick, in language most people can understand. Sure, the other comments here regarding analysis possibilities are correct, but I think the point of teaching is making it as accessible as possible to the majority of musicians who want to be able to play the piece. (This is coming from someone who has a Ph.D. in music theory, but I always try to make analysis as simple as possible or you lose your audience and the point of teaching to others!) Well done, my friend!
Thanks so much for the kind words! I agree with you. The simpler we can make it, the sooner we can actually start conceptualizing and experimenting with what we want to play over it which is the whole point imho :)
Hi Nick… Back door ii V. I have been in a quandary about this and I think I will watch this about 50 more times and it might sink in. Great video. I appreciate the analysis. Very helpful. Looking forward to learning the melody and doing some shedding on this. Thanks so much!!!
Nice analysis thanks ❤
Great. A think the final turnaround it’s actually one of the many variations of the I vi ii V progression. In this case the vi, ii and V replaced by their tritone subs with a maj7 structure. Beautiful move. Thanks for the video!
Yup you nailed it. Thanks for saying what I should have 😂🤣
😆✌@@nickmainella
Greetings and blessing from Colombia, thanks so much for help musicians!🙏🏼👍🏼🎶
Happy to help!
Great episode, Nick! 🎷
Great one, Nick! Yeah Tadd Dameron was an amazing composer
Thanks for posting this tutorial, Nick. It would be nice if you had discussed/delved into the 4 chord device at the end of the song a bit longer. It's not clear what the thinking is for the the harmonic chord movement. Is it simply yet another device we should try to remember or is there a reasoning for this kind of progression?
Could just be a beautiful sounding progression. I think it’s tough when we try to make absolute sense of everything. But there is a lot of structure there with the fourths happening starting on the Eb chord
The classic Dameron turnaround using 4ths really propels the harmony along. Beautiful.
Another way of thinking about it is in the key of C major, a minor is the relative minor and Bb7 which is the back door V7 of C major is the tritone sub V of the a minor. C major 6 IS a minor so it works for that reason as well. Hope that makes sense. 😊
Makes total sense thanks for that. Is this more how Barry would have thought of it?
@@nickmainella Sounds interesting to me. The I to the IV is a crucial cadence in any key, major or minor--just as you explained in your video. Another way to think of that Bb7 is as part of the diminished family and it's associated dominant chords. If we think of the basic V to I, that's G7 to Cmaj. G7 is related to Bb7 Db7 and E7 through the diminished (Ab Diminished). Fun to mix the sounds of those dominants and play into one from another (G7 to Bb7 to Cmajor, for instance).