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Thanks! The guitar I'm playing is my Heritage Academy Custom (name of the model... not actually a custom build). Great little thin line small body semi hollow.

Ha sometimes you just gotta make some faces :)

My man... always love hearing from the bebop badass!

For sure. Best way to get it into your vocab is to begin by treating the blue note like a ghost note. The moment you play it, resolve it. So play the Maj7 shell but immediately pull it down to the dom7 shell. As your ear starts diggin it and making music sense, you can start going back and forth between them, trilling, or sitting on it slightly longer. Eventually, if you grow to like it enough, you can start exploring holding it for longer periods of time or even leaving it unresolved. Think of it like learning to cook with cayenne. Start with just a little bit. Then gradually add more over time if you're getting into it.

Thanks! Glad you dig it!

Yep. Great example of a tune that mostly sticks to harmonizing the blues scale and the blue notes... which makes it sound lyrical and bluesy af while also having seemingly non functional and "abstract" chord choices

When I'm working with musician's who are having a hard time making musical sense of the blue note, I recommend they treat it like a ghost note. AS they play it, they should slide up or down immediately. Once that makes sense to the ear, then they can play it for a split second and then resolve it. Eventually they can expand the amount of time the sit on that note... like the blue note in the melody of Angel Eyes that's held for about half the measure. I'd recommend the same thing here. If the FMaj7 chord doesn't yet sound in to your ear... start off by playing the FMaj7 and IMMEDIATELY sliding the 7 down to the b7 like a ghost note inside the chord x87(9)xx -> x87(8)xx FAST Then gradually let yourself sit on it a bit longer or repeat the #4-4#4-4 a couple times. 🤘🏻

Thanks 🙏🏻

Thanks! 🙏🏻

Mr Quick! Thanks man. Yeah I wish this approach was taught to me early on before chord melody... and that I'd have been given more than a single lesson before being force onward towards more challenging approaches. Just checked your lesson out. Awesome job. Great to see you in the teacher role! 🤘🏻

Sometimes simplicity is the most direct route to sophistication 💙

That's a great one! I often recommend it when trying to head toward a more two part counterpoint or melody/countermelody thing as opposed to preceding this approach. But both are great and feed off each other! Keep swangin' 😎

I'll warn the nearby surfers 💙

Thx Lorenzo! Appreciate you checking it out... hope it gave you a cool idea or two to mess with 💙

Awesome, glad you dig it!

Thanks boss! It's usually the same notes repeated... I think I may have been goofing around and displacing some of it a bit.

@jordanklemonsjazzguitar Thanks I am practicing the tune on the sax and can't figure out if there are note-shifts or changes as the pattern repeats itself at the end. Thanks again, champion 🏆

Thanks Russ!

Thanks Joe! 💙

Thanks Christophe! left hand right hand all day! 💙

Thanks my friend from the low end 💙

Hey Gregg, sorry about the issue. Quick question... did you already register for the FULL free masterclass course in my official website? Once you register for it, you SHOULD receive an email from me with the PDFs. If you already did all that, and the link in the emails isn't working, maybe try right clicking and opening in a new window? If you registered but didn't see the PDF emails, check you spam folder and/or respond to the welcome email, and I'll manually copy and paste the PDF info into a response email. If you didn't register yet, follow the links in the description to do so. Not only will it give you the PDFs, but there's also some additional video not available on RUclips found only inside the official, full version. 🙏🏻

Thanks boss! 🙏🏻

Thank you Yariv! Appreciate you listening 🙏🏻

Thank Nick! 🙏🏻 Loved your recent guitar/singer duo vid I saw. You really brought the soulful blues into the music 💙

😂 Like Scofield told me, "I gotta let it shine!" hahaha Thanks boss. Monk gives us the perfect vehicle to balance smooth and angular. Doesn't get more smangular than THE BOSS 😎

Thank you! 🙏🏻 It's such a great tune. I absolutely LOVE that he had the courage to make the main theme just a series of descending major triads. Nobody had a music backbone like Monk. Who else would write something so "simple" and yet play it with the integrity, authority, and grace that brings the sound to life like him?

Thank you 💙

THank you my friend 🙏🏻💙 Hope to see/hear you soon!

Thx man! I struggled with it for a couple decades before Pete and Stefon helped me simplify things down. Wish I could go back in time and start over 🤷🏻‍♂️ knowing what I know now... I guess that's just part of the process. Gotta love Monk. The older I get, the more I admire him and love his tunes. Going to be doing a Monk series in my Tune Studies Library for my students (and for myself). SO MUCH to learn from him! 💙

Yeah... sorry... I should have put the link in the description. I must have blanked on that. I just looked it up and found it for you. Just YT search for "jazz house kids pat metheny masterclass 2008" 🤘🏻

Awesome... stoked you dig it LUW! I think I have a few pianistic harmony videos on here... specifically about liquid harmony. You're also welcome to come and hang in my free fb group if you're on there. I do live vid pretty regularly. Look us up under "Melodic Triads" or just shoot me a friend request, and I'll send you the direct link 🙏🏻

@@jordanklemonsjazzguitar Awesome, sent a request to your group! So cool to find more advanced stuff like yours! As I’m sure you know, most stuff online is much more beginner/intermediate focused.

killer!

Correct... and then it repeats for the 2nd four bars giving you the full A section. Usually moving the IV to the iv during the 2nd half of the A section (measure 6)... this can also be done in measure 2 for a little extra motion. The loop I'm playing over is the full 8 bar A section

A-F#7-Bmin7-E7 = A-D-A-E ?

​@@jordanklemonsjazzguitar A-F#7-Bmin7-E7 = A-D-A-E ?

That would cover the A - D triads. Then the next I VI ii V (or iii biiiº ii V... etc) would be the A - E. Two CHORDS per measure. But only one melodic triad per measure. That's one of the things that makes this approach so much easier as there's half as many "changes" to think about and make.

Stoked you're digging the full method laid out in the courses! You def CAN think of it as all I and V... but the I IV and V is closer to the way I hear Bird and Monk composing and playing over it. So that's my personal go-to... with a few additional triads I sometimes throw in that I stole straight out of Bird's ear.

💙 Thanks!

Thanks Joe... not on here often enough. Gotta start posting more. Great crossing paths!

This guy knows! 👆🏻 Thanks my friend holdin down the low end 💙

Bruuuuh... Love that you're keeping so busy you can't watch a 4.5 minute vid haha 🤘🏻 Also love the compliment. It's fun, right?!?

You're welcome... glad you dig it 🙏🏻

Thanks 💙 glad you dig it and see the overlaps with BH. They're DEF there! A few benefits for the guitar I find this relies on more because it's fretboard friendly. But also... how whacky is it that our tension triad (which happens to be diminished for this harmony, but won't always be) IS the min6 of the chord. E-6... the C# diminished triad is the R-3-6 "shell voicing" of the basic E-6... yet it behaves like the tension wants to resolve back into the upper extensions. Pretty cool 😎

Agree. Loving and enjoying the music itself is the alpha and the omega. Being self-taught growing up, that was the ONLY learning tool I relied on. And most music students I work with began there... oftentimes stalling out and plateauing after a few decades because they've run out of steam and aren't sure where to head. Bringing in the more "adult" mindset of goals, future planning, and self-examining is a really nice yin-yang to the (usually more natural and innate) childlike playfulness. I always encourage my student to strike a balance between both the "play mindset" which is very childlike and is happy to just enjoy the instrument and the music without worrying about "accomplishing" anything AND their "practice mindset" which is about goals, fundamentals, projects, and growing our musicianship deeper. Most students I work with THINK they're practicing when really they're just playing. So helping them see the difference and waking up the real practice mindset can create explosive growth... especially when balanced with still making time for play mindset. Realizing the difference between the two created some of the most massive growth in musicianship I've ever experienced... and I've watched tons of other musicians I work with experience the same results by deepening their relationship with their own practice and play mindsets. Both are great and critical.

💙 in 💙

It's available inside the official masterclass on my website. You can find the link to register in the description.