Thank you for a great video, Tony. That compound lydian concept is something I’ve put a lot of practice into. A cool harmory that you can play is (starting a 2nd octave note) to voice a tonic major bass note. Above that, as an upper structure up a tenth voice a stock iii-7 grip, then (starting on the major 9th of the iii-7) play a 6 note bV quintal. This chord is a undecad (all notes except the maj 6th, however, if you want the aggregate harmonized, then play the iii chord as 1 b3 4 5 b7. I hope you like this sound!
I remember my Jazz Harmony lecturer at Music School over 10 years ago discussing the G# over Gmaj7 in this tune. It blew my mind back then and it still does!
I first heard this tune over 42 years ago when I attended Berklee College of Music. Heard it during an advanced jazz-music analysis course. There're a few ways to "analyze" this piece, especially the "intro". To add to your analysis: I also hear the intro as "poly tonality". Basically, it can be heard as an A Major tonality over the D Major tonality. (The GMaj7th chord to the F#min7th chord vamp can suggest a D Major tonality. . . without actually playing the DMaj chord.) I add this simply because I LOVE the sound of suggested poly-tonality in a composition. I utilize this sound with my own compositions. But the bottom line is this: "Tell Me a Bedside Story" is a beautifully rich and well-crafted composition. I haven't heard this piece in decades! It is so nice to hear it again (and again, and again) after all of these years. It brings back really nice memories of living in Boston, MA while attending music college. . . too many years ago. Peace. . . 😊
Thank you for a great video, Tony. That compound lydian concept is something I’ve put a lot of practice into. A cool harmory that you can play is (starting a 2nd octave note) to voice a tonic major bass note. Above that, as an upper structure up a tenth voice a stock iii-7 grip, then (starting on the major 9th of the iii-7) play a 6 note bV quintal. This chord is a undecad (all notes except the maj 6th, however, if you want the aggregate harmonized, then play the iii chord as 1 b3 4 5 b7. I hope you like this sound!
I remember my Jazz Harmony lecturer at Music School over 10 years ago discussing the G# over Gmaj7 in this tune. It blew my mind back then and it still does!
Kenny Barron played that F#m11 with fifths in the left and right hands.
As usual a great way of breaking down. Thank you, Tony!
Tony thank you for posting this! this is gold! you analyzed this standard with ease and clarity...excellent tutorial.
Absolutely gorgeous harmony. Thank you for uploading Tony.
Loved this song forever and certainly loved all you tips
Thanks!!!!
3:22 Barry Harris voicing?
What a beautiful tune!
Kenny Barron.
Kenny Barron voicing. Not Barry Harris
Nice !
Thank you Tony.
Thank you so much for sharing your knowledge and beautiful playing. Very helpful and inspiring for us beginner/intermediates.
My pleasure, 24hr
I first heard this tune over 42 years ago when I attended Berklee College of Music. Heard it during an advanced jazz-music analysis course. There're a few ways to "analyze" this piece, especially the "intro". To add to your analysis: I also hear the intro as "poly tonality". Basically, it can be heard as an A Major tonality over the D Major tonality. (The GMaj7th chord to the F#min7th chord vamp can suggest a D Major tonality. . . without actually playing the DMaj chord.) I add this simply because I LOVE the sound of suggested poly-tonality in a composition. I utilize this sound with my own compositions. But the bottom line is this: "Tell Me a Bedside Story" is a beautifully rich and well-crafted composition. I haven't heard this piece in decades! It is so nice to hear it again (and again, and again) after all of these years. It brings back really nice memories of living in Boston, MA while attending music college. . . too many years ago.
Peace. . . 😊
Thank you, Maestro. 5:47 5:47 Nice discussion of Lydian. ⭐🌹🌞🌹⭐
Love Herbie, thanks Tony!
Thank you for posting these videos and PDFs Tony.
Herbie had a thing for putting b2 in the melody going back to cantaloupe island; iirc actual proof has a b2 meldoy note over a dominant.
thanks so much tony
"the guys name" at 3.24; Kenny Barron? I think he is doing these double stacked fifths.
I think Russell Ferrante from the Yellowjackets likes it too
If Herbie did it we can do it... right... Maybe with a lot of practice.