Hi Ray this is so generous of you to post this video lesson. It is the most useful lesson and it is so under-viewed. I have your book is the most comprehensive I have seen. Jazz tuition owes you a huge debt. Thanks again
Hi Ray thank you for being so generous and posting this video. It offered the most practical information and together with your book jazz education owes you a huge debt Thanks again
Ray, thank you so much for posting this unvaluable info for free. Thank you so much, really. Maybe it's a silly question, but Strasbourg St. Denis, for example, in the first bars it goes: | Bbm Cm | DbMaj7 % |. In Bbm-Cm, i must resolve going from the major 9th to the tonic and in Cm - Dbmaj7 from minor 3rd to 5th? or since it's a diatonic progression, it doesn't really cares about the guide, and more you can use any chord tone?. Thank you again!
Thank you for your question. The video you watched is an approach for playing standard tunes and bebop tunes with a lot of chord changes that need to be played very specifically. Many modern tunes, especially funk and rock tunes, do not use the same kinds of chord progressions and can use a different approach. The Autumn Leaves approach we used in the video is what I would call a vertical approach-every time the vertical structure (the chord) changes, we change what notes we can choose, and we try to connect the chords via half-step guide tones. Some tunes can use what I call a horizontal approach where we can blanket the whole tune with the same materials based on a more horizontal consideration such as the key of the piece. For example, it is possible to play one pentatonic scale or one blues scale over the whole progression with no regard for when the chords change. The tune you have asked about is a combination of the two. The repetitive pattern of Bb-, C-, DbMaj can be blanketed. It is not necessary to find the guide tones for this kind of thing. You can play with one scale (maybe minor pentatonic) over that part, but then at the end of the 8 bar phrase on bar 7, it is important to resolve to the Abmaj7 (it is preceded by its dominant Eb7alt, so the guide tones for this resolution are very standard. Then in bar 8, you get an F7alt to take you back to the Bb- at the top for the repeat. You should play the F7 very specifically and resolve back to the top where you can blanket again for the first 5 and a half bars same as the first time. Good luck!
@@charlesrsmith7 Really appreciate your answer, Ray. I'm going to study all your channel, this is pure gold for those who wants to learn. Good luck you too!
Hi Ray this is so generous of you to post this video lesson. It is the most useful lesson and it is so under-viewed. I have your book is the most comprehensive I have seen. Jazz tuition owes you a huge debt. Thanks again
Thank you so much for this comment. Sorry I overlooked it and then just discovered it!
Ty great info
Hi Ray thank you for being so generous and posting this video. It offered the most practical information and together with your book jazz education owes you a huge debt
Thanks again
Thank you! I am happy this was helpful to you. Check out the lessons on the blues and rhythm changes.
"Half steps make the world go 'round." -- Ray Smith # 20:46. (Classic!)
Ray, thank you so much for posting this unvaluable info for free. Thank you so much, really. Maybe it's a silly question, but Strasbourg St. Denis, for example, in the first bars it goes: | Bbm Cm | DbMaj7 % |. In Bbm-Cm, i must resolve going from the major 9th to the tonic and in Cm - Dbmaj7 from minor 3rd to 5th? or since it's a diatonic progression, it doesn't really cares about the guide, and more you can use any chord tone?. Thank you again!
Thank you for your question. The video you watched is an approach for playing standard tunes and bebop tunes with a lot of chord changes that need to be played very specifically. Many modern tunes, especially funk and rock tunes, do not use the same kinds of chord progressions and can use a different approach. The Autumn Leaves approach we used in the video is what I would call a vertical approach-every time the vertical structure (the chord) changes, we change what notes we can choose, and we try to connect the chords via half-step guide tones. Some tunes can use what I call a horizontal approach where we can blanket the whole tune with the same materials based on a more horizontal consideration such as the key of the piece. For example, it is possible to play one pentatonic scale or one blues scale over the whole progression with no regard for when the chords change. The tune you have asked about is a combination of the two. The repetitive pattern of Bb-, C-, DbMaj can be blanketed. It is not necessary to find the guide tones for this kind of thing. You can play with one scale (maybe minor pentatonic) over that part, but then at the end of the 8 bar phrase on bar 7, it is important to resolve to the Abmaj7 (it is preceded by its dominant Eb7alt, so the guide tones for this resolution are very standard. Then in bar 8, you get an F7alt to take you back to the Bb- at the top for the repeat. You should play the F7 very specifically and resolve back to the top where you can blanket again for the first 5 and a half bars same as the first time. Good luck!
@@charlesrsmith7 Really appreciate your answer, Ray. I'm going to study all your channel, this is pure gold for those who wants to learn. Good luck you too!