is the bridge of JAMES impossible to play over?

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-----this PDF contains all the chords that i show in the corresponding video. i have a look at V I progressions in major and minor. a i explain how you can use open triads in inversions
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[@yousukeesu1]

Tina thank you for this lesson, i am non-schooled jazz guitarist from Turkey, this is a priceless content for me. Love your work !

[@tinajackel]

i m glad to be of help 😊

[@TheMetalslayer100]

Hallo Tina!
Ich studiere Jazzgitarre in Kärnten (AT) und hab diesen Tune nun auch im Repertoire. 😃
Find ich toll, wie einfach du für uns deine Vorangehensweisen für die Improvisation über die Bridge erklärt hast. Hilft wirklich weiter, so über diese Bridge zu denken. 😁
LG nach DE 🙏🏾

[@tinajackel]

hi! das freut mich! es gibt bestimmt auch andere herangehensweisen aber diese hat für mich ganz gut funktioniert! liebe grüße aus berlin tina

[@clydebermingham121]

JAMES is one of pat Metheny’s loveliest tunes … (just about all this tunes are lovely already 🤗)

[@mongoharry]

To get started on difficult progressions, I sometimes think of similar tunes I already know.
In this case, I basically think of the first three chords of "Donna Lee", then the first three chords of "Just the Two of Us". Each is followed by a dominant seventh chord one whole step down. The C#7 gives you a +5 that you probably don't want, but it's over before anyone notices. Also, the third chord is minor, not dominant.
So the scales I use are: A Ionian, F#7 Altered, B Dorian/ Aeolian, A Mixolydian; Then D Ionian, C#7 Altered, F# Dorian/Aeolian, E Mixolydian.
Viel glück 😎😆🌈

[@gtrplyrgrl512]

Your breakdown of the triad inversions related to the V I is ❤️🔥🧠 Thank you!!

[@tinajackel]

thank you Linda!

[@clydebermingham121]

By the way , Tina , which model Ibanez are you playing here in this posting , please ? 🙏🏽 🤗

[@JazzGuitarScrapbook]

I think it’s quite funny that Rick identified this as being difficult, because functionally it’s just the same as II V I, but at the same time it really isn’t. While most bop stuff is in root position, the semitone bass movement that’s been common in western music for hundreds of years. I would also say it’s actually not the same thing as a V I because if you double the third - the usual sensitive note you would use in a V I, you actually end up with poor counterpoint. The solutions you identify (b9, b7 resolving to I chord tones) are how Bach and Mozart would have done it too. I think Pats music is all about this type of stuff.

[@WhiteBoar1483]

Great lesson Tina, can I ask what is the pedal your using? Is it a loop pedal?

[@tinajackel]

i think i am using an old boomerang! ( or maybe the ditto pedal)

[@WhiteBoar1483]

@@tinajackel thank you, I need to invest in one.

[@pauloluisdemoraespereirape9484]

Voce e show!!!

[@johnc.mitchelljr.2716]

👍excellent !

[@frankrausch6149]

❤ ✌ 🙏

[@PTguitars]

Thanks Tina - you are an excellent teacher.

[@tinajackel]

thank you!

[@dannyhood8857]

Recently i read that Pat Metheny listens to Buckethead.

[@guitarsofold100]

Your front pick up is too high resulting on wolf tones on the bass notes after the 10th fret

[@tinajackel]

0h that’s interesting- i will need to hear that … the guitar is still kind of „new“ too me

[@christopherbandini9756]

This lesson rules. 🔥 Especially starting @13:35 thank you!