Check out There Will Never Be Another You Jazz Guitar Lesson which goes over some real fantastic strategies. If you dig this video or want to see others please make a comment below. How do you play over this tune?
@@brucegregori Hey man, I’m in NYC. I see a lot of your old videos are at clubs in the city. Are you gigging around? I’m looking at your website and it looks like no, but I just wanted to check since you’re on. Thanks.
The Db7 could be a backdoor dominant for the Eb major in measure 10, no? You can still play Lydian b7. I guess you'd have to reharmonize the Ab major to Fm7.
Sort of. Basically this tune is a blues. Like a Bird’s Blues that uses back cycling to get from I-IV. The Db7 gives it more of a blues vibe like the IV of IV (Ab). In this case I think more as a dominant IV than a back door to I. But technically yes if the progression went right back to I. It’s good to make connections to see how all this relates. Good work!
To clarify, is Augmented triad formula: First triad PLUS flat seven, THEN triad a whole step up from starting note? (I.e, CEG Bb, THEN DF#A) Extremely useful thank you!
Correct- this basically from harmonizing a whole tone / augmented scale. Major triads are built on the root and a whole step up. And actually you can play a dominant 7th arpeggio and one a whole step up as well! So on that F7, I can play an F7 arp and connect it to a G7-why? Because the F (7th) degree of G7 is the root we are already starting on. There are lots of possibilities and that is why Lydian Dominate is such a cool sound and very useful. Peace
@@brucegregori Wow fielding questions on the 4th of July thanks! Just purchased your "There Will Never Be Another You Jazz Guitar Lesson" off your site (even though I secretly want to use it for my trumpet playing soloing techniques) Thanks!
At 6:56 you said, “I’m going to play Ab Melodic minor.” You actually played a flat 6 note E rather than the F note. Small mistake but the theory and lesson is good.
I usually go chromatic lol. But really what is happening there is using the #9 combined with a 9 or flat mine. Parker did it all the time. Sorry for the confusion. Sometimes I’m not so pure. Ha!
![일상 속 기분 좋음 [Proto disco meme]](http://i.ytimg.com/vi/DwmEIaZ7XGQ/mqdefault.jpg)
Bravo!!
Thanks brother!
It does sound better when not resolving back to One. Thats a trip TY .
thank so much ! Nice inside
Surhe thing!
Very useful and well explained. Thank You.
Sure thing.
Great Lesson.
The audio quality of this video is amazing
Well right on and thanks for the comment -@-@- !
Check out There Will Never Be Another You Jazz Guitar Lesson which goes over some real fantastic strategies. If you dig this video or want to see others please make a comment below. How do you play over this tune?
Lydian Flat 7 .............Lydian Dominant right ? Do you ever use it to resolve back to the one chord. BY the way Great stuff.
Great Lesson! Thank you!
Amazing... Thank you so much!
Thanks!
Your choruses at the end of the video are incredible!
Thanks very much!
@@brucegregori Hey man, I’m in NYC. I see a lot of your old videos are at clubs in the city. Are you gigging around? I’m looking at your website and it looks like no, but I just wanted to check since you’re on. Thanks.
@@LydianLunch From time to time but I have been in the studio a lot.
Magnífico trabajo. Muchas gracias maestro.
PEACE brother - thank you!
awesome stuff. Thanks
what guitar strap is that?
The Db7 could be a backdoor dominant for the Eb major in measure 10, no? You can still play Lydian b7. I guess you'd have to reharmonize the Ab major to Fm7.
Sort of. Basically this tune is a blues. Like a Bird’s Blues that uses back cycling to get from I-IV. The Db7 gives it more of a blues vibe like the IV of IV (Ab). In this case I think more as a dominant IV than a back door to I. But technically yes if the progression went right back to I. It’s good to make connections to see how all this relates. Good work!
this is so great and I really appreciate the hidden gem!! so thankful :)
More than welcome. Thanks for the kind words!
To clarify, is Augmented triad formula:
First triad PLUS flat seven, THEN triad a whole step up from starting note? (I.e, CEG Bb, THEN DF#A)
Extremely useful thank you!
Correct- this basically from harmonizing a whole tone / augmented scale. Major triads are built on the root and a whole step up. And actually you can play a dominant 7th arpeggio and one a whole step up as well! So on that F7, I can play an F7 arp and connect it to a G7-why? Because the F (7th) degree of G7 is the root we are already starting on. There are lots of possibilities and that is why Lydian Dominate is such a cool sound and very useful. Peace
@@brucegregori Wow fielding questions on the 4th of July thanks!
Just purchased your "There Will Never Be Another You Jazz Guitar Lesson" off your site (even though I secretly want to use it for my trumpet playing soloing techniques)
Thanks!
@@andylarkin100 ha ha always! Swing on!
At 6:56 you said, “I’m going to play Ab Melodic minor.”
You actually played a flat 6 note E rather than the F note. Small mistake but the theory and lesson is good.
I usually go chromatic lol. But really what is happening there is using the #9 combined with a 9 or flat mine. Parker did it all the time. Sorry for the confusion. Sometimes I’m not so pure. Ha!
The algorithm is really not serving me well. How on earth did it take this long for me to find you!?
We used to call this song, which I dearly love to play, "the Sheep Hearders Song". Oh well, I'm sorry.