..congrats, this is an amazing video. one could make a career out of that knowledge :) & in my opinion your approach to humor (channeling cannonball) is the only way 2 deal wth life & jazz in it. regards..
Lovely video, subscribed! Hearing you talk about a tritone sub as side-stepping felt odd for a few seconds, and then I came to the realization that it actually *is* side-stepping if the sub isn't part of the (implied) harmony. Cheers!
Yeah I always feel the like between a tritone sub and side-stepping can be pretty blurred! I usually think of it as a tritone sub has to happen to a dominant chord (and the corresponding m7 if its there), so in the example of the ii V I in F, the tritone sub would have tk be on the C7 giving us an Gb7. It could also be on the Gm7 but the end result would be either Gm7 Gb7 Fmaj7 or Dbm7 Gb7 F7. Even if we expanded it to a iii VI ii V I progression the tritone subs would be Am7 Ab7 Gm7 Gb7 Fmaj7 or Ebm7 Ab7 Dbm7 Gb7 Fmaj7 (or one of the many other possible combinations). All of these only really have chromatic movement going to the final I chord, or from an un-substituted ii chord to a subbed V chord. Side-stepping, however, changes that Gm7 C7 Fmaj7 into Abm7 Db7 Gm7 C7 Fmaj7 - the chromatic movement is between bother the ii V progressions.
@@joshwakeham Definetly get what you're saying, great explanation! My eyes rather see a tritone sub on the secondary dominant, which is preceded by its subdominant: (IIm7 SubV7/V7) IIm7 V7 Imaj7. I believe the approach to numbered analysis where I'm from is different than yours, hopefully you still understand. As a means to create harmonic motion in a regular IIm7 V7 during the break, Cannonball could have thought of adding a secondary dominant before the IIm7 V7, then adding another layer of complexity by making the secondary dominant a tritone away. I really wish we could ask these giants what went on inside their heads lol But whatever the analysis, approach or "how it's called" is, you've diligently captured and demonstrated the *sound* of Cannonball's break. It is indeed a very appealing sound, and thanks to you, I'll try applying it over regular changes to see what comes of it!! Cheers:)
@@joshwakeham You're in for quite a treat then. Add Gil Evans' "The Complete Pacific Jazz Sessions" - the first half is an album called "New Bottle, Old Wine" w/ Cannonball as featured soloist.
It's a great break. However, I prefer the one from If This Isn't Love from the same album. Mind you, ranking Cannonball's best breaks/licks is an impossible task!!
Wow, I thought the answer was just "side-slip" I'm glad I watched
This video is great! Great editing and clear and concise.
Thank you! So glad you enjoyed it!
Good video thanks!
..congrats, this is an amazing video. one could make a career out of that knowledge :) & in my opinion your approach to humor (channeling cannonball) is the only way 2 deal wth life & jazz in it. regards..
Thanks man, its so great to hear you enjoyed it!
Great video, Josh. Well done. Thanks so much for the tips :)
Thanks Michael, that means a lot!
"Jazz nuggets" sounds like a Frank Zappa album. Love it!
😂 Well, if I ever release an album, I know what I'm calling it now!
Danke Sehr gut!
such a helpful video. loving your content!
Thanks Julian, it's so great to hear that you're finding it useful!
Another excellent lesson... Eva and I loved it...but where on earth did you find the other Josh?
We keep him hidden away most of the time. One Josh is more than enough!
Thanks Josh for the new way of playing a II V I.
No problem, Paul. Glad you found it useful!
Lovely video, subscribed! Hearing you talk about a tritone sub as side-stepping felt odd for a few seconds, and then I came to the realization that it actually *is* side-stepping if the sub isn't part of the (implied) harmony. Cheers!
Yeah I always feel the like between a tritone sub and side-stepping can be pretty blurred! I usually think of it as a tritone sub has to happen to a dominant chord (and the corresponding m7 if its there), so in the example of the ii V I in F, the tritone sub would have tk be on the C7 giving us an Gb7. It could also be on the Gm7 but the end result would be either Gm7 Gb7 Fmaj7 or Dbm7 Gb7 F7. Even if we expanded it to a iii VI ii V I progression the tritone subs would be Am7 Ab7 Gm7 Gb7 Fmaj7 or Ebm7 Ab7 Dbm7 Gb7 Fmaj7 (or one of the many other possible combinations). All of these only really have chromatic movement going to the final I chord, or from an un-substituted ii chord to a subbed V chord.
Side-stepping, however, changes that Gm7 C7 Fmaj7 into Abm7 Db7 Gm7 C7 Fmaj7 - the chromatic movement is between bother the ii V progressions.
@@joshwakeham Definetly get what you're saying, great explanation! My eyes rather see a tritone sub on the secondary dominant, which is preceded by its subdominant: (IIm7 SubV7/V7) IIm7 V7 Imaj7. I believe the approach to numbered analysis where I'm from is different than yours, hopefully you still understand.
As a means to create harmonic motion in a regular IIm7 V7 during the break, Cannonball could have thought of adding a secondary dominant before the IIm7 V7, then adding another layer of complexity by making the secondary dominant a tritone away. I really wish we could ask these giants what went on inside their heads lol
But whatever the analysis, approach or "how it's called" is, you've diligently captured and demonstrated the *sound* of Cannonball's break. It is indeed a very appealing sound, and thanks to you, I'll try applying it over regular changes to see what comes of it!! Cheers:)
You post Cannonball licks. You are my friend.
He's definitely one of my all-time favourites. It was him that got me into jazz in the first place!
@@joshwakeham Have you heard him on Kenny Dorham's "Blue Spring" album? That's a hidden gem right there!
I haven't come across that album! I've got a few long train journeys coming up this weekend, so I'll be sure to check it out during them!
@@joshwakeham You're in for quite a treat then. Add Gil Evans' "The Complete Pacific Jazz Sessions" - the first half is an album called "New Bottle, Old Wine" w/ Cannonball as featured soloist.
I love New Bottle Old Wine! I actually wrote my undergraduate dissertation on that album. Definitely need to revisit it!
Where is the pdf of this video ?:)
Great video but I wanted way more on the articulation you mentioned in the beginning and less (me personally) on the music theory
Thanks for the feedback, I'll keep that in mind for future videos!
@@joshwakeham Could you do a vid on specifically the articulation of that lick?
It's a great break. However, I prefer the one from If This Isn't Love from the same album. Mind you, ranking Cannonball's best breaks/licks is an impossible task!!
Oh that one is also incredible - definitely a lot more rhythmic!
cogent as fuck
Thank you!!