That tritone backdoor in the C section I view as a ii V to 3 (which is just an extension of the 1 chord).. so to me.. thats why it works.. very clever too
That’s an amazing lesson. May I ask if there is any video that I can watch that tells you about the logic behind how you pair up the notes for the left hand?
Thanks for the comment! I haven’t done a video on specifically that, but in most cases it’s playing the root + 7 or root + 3rd of the chord, with some other occasional voicings. If you look at them in relation to the specific chord symbol that’s a good place to start!
Hi! Thank you so much for this great video. I tried to analyze this song. I had the lead sheet in the Real Book. The C section is different in the real book. Also some other parts are different. A friend of mine once said that sometimes some mistakes could be in the real book. Do you think that I should follow the lead sheet in the real book version of the song or the one you used in the video? Thanks in advance for the answer.
Hello! The real book is a great resource and is a brilliant way to get familiar with tunes. The idea with these videos is to break down the harmony to the foundations and then show where more complex harmony has been added through the years. As the real book is a lead sheet, it’s sometimes hard to distinguish which blocks of harmony are essential and which are optional. I think the best thing you can do is listen to the recording and then try to pick out the chord bass notes from the bass - slow it down and use headphones to help - that’s the only way to get the ‘real’ answer!
This video is gold! Super helpful, insightsful, and clearcut, just for me. I know how to add 7ths and 9ths, so I read the chords you use with ease. Oooops, bar 31 is a common weird thing, it is more Eb/G than Gm7, but one often see your notation. But the melody notes clearly indicates tonic (Eb Major) and the Gm7 fits into the following circle of fifths - nevertheless the Eflat melody tone protests against Gm7. You can hear that many improvisators chose to alter the melody here to have the Gm7 fall into the circle of 5ths. And ooops2: It looks as if you when demonstrating the simple totality actually plays G Eb F in the left hand at Gm7. Is that a common twist of Gm7 - and not calling it Eb /G ??? There is a saying in classical music that Jazz doesn't use major/minor chords in "1st inversion" also ciphered just 6 in baroque "figured bass" which largely corresponds to jazz chord practice.
Hey Donald - thanks for checking out the video! With the harmonic analysis my aim is to make the harmony itself as understandable and logical as possible, and keep this consistent through the various standard analysis videos. You’re exactly right that G-7 can and is frequently Eb/G and this is the kind of think that’s up for grabs when improvising, or when playing the head. Hope that helps!
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That tritone backdoor in the C section I view as a ii V to 3 (which is just an extension of the 1 chord).. so to me.. thats why it works.. very clever too
You’re a great teacher 👍
Thanks Lamberto! 🙌
Awesome! I love this standard!
Thanks, and me too!
Appreciate the great and insightful tutorial!!!
Thanks very much Steven!
Amazing video thank for the detailed explanation
Thanks!
I appreciate the analysis ..great work
Thanks Enoch!
Beautiful standard! Thank you for the awesome tutorial.
Thanks very much Ivan!
Excellent, thanks.
Thanks Barry!
That’s an amazing lesson. May I ask if there is any video that I can watch that tells you about the logic behind how you pair up the notes for the left hand?
Thanks for the comment! I haven’t done a video on specifically that, but in most cases it’s playing the root + 7 or root + 3rd of the chord, with some other occasional voicings. If you look at them in relation to the specific chord symbol that’s a good place to start!
Hi! Thank you so much for this great video. I tried to analyze this song. I had the lead sheet in the Real Book. The C section is different in the real book. Also some other parts are different. A friend of mine once said that sometimes some mistakes could be in the real book. Do you think that I should follow the lead sheet in the real book version of the song or the one you used in the video?
Thanks in advance for the answer.
Hello! The real book is a great resource and is a brilliant way to get familiar with tunes. The idea with these videos is to break down the harmony to the foundations and then show where more complex harmony has been added through the years. As the real book is a lead sheet, it’s sometimes hard to distinguish which blocks of harmony are essential and which are optional. I think the best thing you can do is listen to the recording and then try to pick out the chord bass notes from the bass - slow it down and use headphones to help - that’s the only way to get the ‘real’ answer!
This video is gold! Super helpful, insightsful, and clearcut, just for me. I know how to add 7ths and 9ths, so I read the chords you use with ease.
Oooops, bar 31 is a common weird thing, it is more Eb/G than Gm7, but one often see your notation. But the melody notes clearly indicates tonic (Eb Major) and the Gm7 fits into the following circle of fifths - nevertheless the Eflat melody tone protests against Gm7. You can hear that many improvisators chose to alter the melody here to have the Gm7 fall into the circle of 5ths.
And ooops2: It looks as if you when demonstrating the simple totality actually plays G Eb F in the left hand at Gm7.
Is that a common twist of Gm7 - and not calling it Eb /G ??? There is a saying in classical music that Jazz doesn't use major/minor chords in "1st inversion" also ciphered just 6 in baroque "figured bass" which largely corresponds to jazz chord practice.
Hey Donald - thanks for checking out the video! With the harmonic analysis my aim is to make the harmony itself as understandable and logical as possible, and keep this consistent through the various standard analysis videos. You’re exactly right that G-7 can and is frequently Eb/G and this is the kind of think that’s up for grabs when improvising, or when playing the head.
Hope that helps!
Piano sounds very muddy. But the explanations are great
OMG, it's so awsome nice made, but you always cut when the solo becones really exciting:)
You’ve always got to leave them wanting more!
🔥🎹🎶👏🏾