I’ve learned that I can just treat the A section like the first 8 bars of a 12 bar blues. I tend to use a lot of the “Barry Harris Chromatic Scale” approach which I just call bumblebeeing over the course of those 8-bar phrases.
Miles Davis approached rythm changes like your last example. I tend to do that as well unless I feel like adding more chromaticisim or other substitutions. Thanks for the breakdown, i had to figure this out by looking at different musicians transcriptions back in the 90's.
That’s very helpful! I always had problems with that B natural and found myself either playing intuitively, which sounded pretty ok, or beating myself up over not including the B enough…and then just turning to another tune, with the matter unresolved. You’ve done some great research here!
I gotta get good at rhythm changes. I feel like I was always having trouble with jazz and bebop in general, I feel like getting good at rhythm changes and of course, transcribing by ear more, are the way for me right now. I've been focusing more on classical guitar for a while but I think I'm ready to dive deep into jazz again now that I' m building really good classical technique. I also want to expand my utilisation of triad application. Lovely lesson Your phrases sound beautiful Keep on doing what you do You're a great teacher You earned a new subscriber my dude!
I’ve been focusing on classical guitar also. Since I’m usually playing by myself, the technique is helpful. I’d rather be playing in a band, but at 81 years old, that’s not going to happen!
@@georgesember9069 awesome you're still playing music! I hope to carry playing with me all my life as well that's quite inspirational. As for jazz and playing solo. Sure you know but listen to Joe Pass solo records they really help me to understand jazz guitar in isolation separated from all the other instruments or band members! :) In Leeds where I live there is a jazz lesson/jam each Sunday and they pick different tunes each week. There are a good amount of players there from 60 - 80 so you never know where you might find people in terms of playing in a band so don't give up on that idea!
You mean a G7(b9). The VI dom. b9 is probably the most common substitution in the bop vocabulary. Even though they are often written as diminished chords, they almost always function as dom. b9 chords. A longstanding argument between "classical" music pedagogy and jazz education is whether chords should be named according to their component notes or according to their function. Jazz players often use non-root voicings and bebop era players pretty much alter ALL dominant chords that are resolving or cycling towards resolution. The exception would be non-resolving dominants.
I remember years back when you used to talk about that G7... good times. You're right, phrasing opens up when the harmony doesn't immediately go to the VIdom. If you are stuck thinking chord to chord, you lose the glue that makes the line stand strong--the framework of the phrase and the beacon shining out in the distance--the DOWNBEAT :) Simplifying allows you to identify the true moves. As Barry Harris used to teach, diminished rules the world--especially when you start unlocking the colors (borrowed notes) over the diminished. I'm still studying that material--got lucky finding that teacher. Easy to get lost in the Barry Harris cosmos--good to find a guide to navigate the musical heavens and such :) Speaking of which, don't forget to promote that private teaching hustle ;)
Fun fact: just sub I for I7 which is an altered sub (via diminished family) for VI7 which means you’re even getting an altered sound to the ii-V. Then just play the VI7-V and you’re intro the blues for the second half of the A.
The A in the G7 is a minor second in the scale. I have no idea why they'd write it that way in the first place. Makes no sense to me. G min 7 or dim7 or min7b5 would make life easier and sound more musical, IMO. That A just comes out of left field and doesn't stay long enough to give a new flavor. I wouldn't be surprised if it was a transcription error from back in the day, or a deliberate red herring to throw off new players.
Slight error in this one - the first playing example should NOT have a G7 in the chart. Whoops… thought I’d caught em all :-)
I’ve learned that I can just treat the A section like the first 8 bars of a 12 bar blues. I tend to use a lot of the “Barry Harris Chromatic Scale” approach which I just call bumblebeeing over the course of those 8-bar phrases.
@@geoffstockton bumblebeeing :-)
That is useful, thank you. I'll practice it and see how it goes.
Miles Davis approached rythm changes like your last example. I tend to do that as well unless I feel like adding more chromaticisim or other substitutions. Thanks for the breakdown, i had to figure this out by looking at different musicians transcriptions back in the 90's.
That’s very helpful! I always had problems with that B natural and found myself either playing intuitively, which sounded pretty ok, or beating myself up over not including the B enough…and then just turning to another tune, with the matter unresolved. You’ve done some great research here!
Well so much for tonight I guess. I had planned to play a G7 after work.
@@prcc 😂😂😂
I often play blues and major pentatonic phrases over the Bb6 and ignore G7. I conclude from this that I'm therefore as good as Charlie Parker.
Can’t argue with logic!
Maybe not as good, but thinking creatively along the same line. When the tempos get moving, you gotta simplify the approach.
😂😂😂
Very interresting and usefull, also very clear. Thanks for this.
Nice .thanks Christian
Your tone is awesome!
Thank you!
I totally agree! I have noticed what you’re saying about Charlie Parker not playing G7 in that first bar. And your solution sounds really good.
Same! Recently combed the omnibook looking at this specific thing! Thanks for sharing!
Very nice as ever. Gm can work in the second part of bar1 aswell as a small movement from staying on Bb for the whole bar
You have a really wonderful sound.
@@jpsned thank you!
@@JazzGuitarScrapbook yer welks 🙂
I gotta get good at rhythm changes. I feel like I was always having trouble with jazz and bebop in general, I feel like getting good at rhythm changes and of course, transcribing by ear more, are the way for me right now. I've been focusing more on classical guitar for a while but I think I'm ready to dive deep into jazz again now that I' m building really good classical technique.
I also want to expand my utilisation of triad application.
Lovely lesson
Your phrases sound beautiful
Keep on doing what you do
You're a great teacher
You earned a new subscriber my dude!
Thank you!
I’ve been focusing on classical guitar also. Since I’m usually playing by myself, the technique is helpful. I’d rather be playing in a band, but at 81 years old, that’s not going to happen!
@@georgesember9069 awesome you're still playing music! I hope to carry playing with me all my life as well that's quite inspirational.
As for jazz and playing solo. Sure you know but listen to Joe Pass solo records they really help me to understand jazz guitar in isolation separated from all the other instruments or band members! :)
In Leeds where I live there is a jazz lesson/jam each Sunday and they pick different tunes each week. There are a good amount of players there from 60 - 80 so you never know where you might find people in terms of playing in a band so don't give up on that idea!
Nice lines!
I agree too. Barry might also use Ab dim instead of G7 for more movement in bar 3.
Another dim chord Barry talked about is using C#o7 to get into Dm7 in bar 2-3
You mean a G7(b9). The VI dom. b9 is probably the most common substitution in the bop vocabulary. Even though they are often written as diminished chords, they almost always function as dom. b9 chords. A longstanding argument between "classical" music pedagogy and jazz education is whether chords should be named according to their component notes or according to their function. Jazz players often use non-root voicings and bebop era players pretty much alter ALL dominant chords that are resolving or cycling towards resolution. The exception would be non-resolving dominants.
Good point!
I remember years back when you used to talk about that G7... good times. You're right, phrasing opens up when the harmony doesn't immediately go to the VIdom. If you are stuck thinking chord to chord, you lose the glue that makes the line stand strong--the framework of the phrase and the beacon shining out in the distance--the DOWNBEAT :)
Simplifying allows you to identify the true moves. As Barry Harris used to teach, diminished rules the world--especially when you start unlocking the colors (borrowed notes) over the diminished.
I'm still studying that material--got lucky finding that teacher. Easy to get lost in the Barry Harris cosmos--good to find a guide to navigate the musical heavens and such :) Speaking of which, don't forget to promote that private teaching hustle ;)
Fun fact: just sub I for I7 which is an altered sub (via diminished family) for VI7 which means you’re even getting an altered sound to the ii-V. Then just play the VI7-V and you’re intro the blues for the second half of the A.
Parker used also just play Bb major over the entire A section with chromatic color notes.
What's the third rhythm head
Dexterity
thanks@@JazzGuitarScrapbook
The A in the G7 is a minor second in the scale. I have no idea why they'd write it that way in the first place. Makes no sense to me. G min 7 or dim7 or min7b5 would make life easier and sound more musical, IMO. That A just comes out of left field and doesn't stay long enough to give a new flavor. I wouldn't be surprised if it was a transcription error from back in the day, or a deliberate red herring to throw off new players.
The g7 is part the challenge of being more aware and awake to what is going by.
Piers Morgan
Eh?
@@JazzGuitarScrapbookyou look like him but better looking and more talented
@@simondavid3546 thanks I think haha. It’s good to set that bar nice and low lol…. 😂
Lol! What? Why not? Lol!