One more golden video for us baby jazzers ! That turnaround was indeed a deep mystery as the real book says D7 and Db7 for that part whereas everbody can tell that four different chords are being played there. I have another question related to this tune : This song is a 3/4 jazz waltz... how I'm I supposed to swing that when soloing ?
The last 2 chords of the turnaround are actually E13(b5) then A7#9#5. In the E13(b5) there is also a 9. I don't actually play the b5 since it is in the melody. If you listen closely to Wayne Shorter's version of this you can clearly hear the 9 and the 13 being played off of that E root for E13(b5). This means that the scale implied for E13(b5) would be E Lydian Dominant (same as B melodic minor). The scale for the A7#9#5 would still be the A altered scale (same as Bb melodic minor).
Great practice for melodic minor. Wayne was such a monster. I was searching around and found this little gem… ruclips.net/video/PDD5znpAhsM/видео.html The confusion & discussion over the bridge chords is exactly what you were describing. And these are top level cats! LOL
finally something for my skill level
Be sure to whip out the capo too
Thank you for granting my request Dani. 🙏 This is awesome! Basic Bitch Jazz series rules💪
"A good tractor plows in the mud" is fantastic
I absolutely love how fluid you are with the tremolo bar. Sweet I'm now that more dangerous in my jazz hack..... Um playing.
One more golden video for us baby jazzers ! That turnaround was indeed a deep mystery as the real book says D7 and Db7 for that part whereas everbody can tell that four different chords are being played there. I have another question related to this tune : This song is a 3/4 jazz waltz... how I'm I supposed to swing that when soloing
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Beautiful tone à la Scott Henderson. Nice tune too
The last 2 chords of the turnaround are actually E13(b5) then A7#9#5. In the E13(b5) there is also a 9. I don't actually play the b5 since it is in the melody. If you listen closely to Wayne Shorter's version of this you can clearly hear the 9 and the 13 being played off of that E root for E13(b5). This means that the scale implied for E13(b5) would be E Lydian Dominant (same as B melodic minor). The scale for the A7#9#5 would still be the A altered scale (same as Bb melodic minor).
Does your guitar have a Vegatrem whammy bar? Also. Amazing lesson!!!
Dude that fuckin thumbnail lol
E Hendrix ♥
One of the best lessons!
Thanks
Dig it.
Damn, that's some fuckin spacey shit
My guitar teacher would be so disappointed I'm coming to this channel to learn this one. lol
Awesome lesson
This reminds me of what it would be like to listen to Steve Vai play a jazz standard.
I appraciate your vibrato use.
I would love to have a bigsby installed on my Epiphon Sheraton. What do you think ?
Hello , you say the F#m75b comes from the A minor melodic scale , i don't get it .... could you explain please thanks
When stacking thirds in melodic minor you get 7 chords ImMaj7 IIm7 bIIImaj7#5 IV7 V7 VIm7b5 and VIIm7b5
F#m7b5 is the VIm7b5 in Amelodic minor
@@marbinmusic ok but in the A minor melo you got a natural E and in the F# you got this E flat out of the scale , that is my misunderstanding :(
@ the mode that that chord comes from is called Locrian natural 9 the notes are the same notes of A melodic minor with the root being F#
I thought the turnaround was simply D dominant to Db Dominant, to Cmin. Silly me.
That’s why you need me
Great practice for melodic minor. Wayne was such a monster. I was searching around and found this little gem… ruclips.net/video/PDD5znpAhsM/видео.html
The confusion & discussion over the bridge chords is exactly what you were describing. And these are top level cats! LOL
Great❤
Need more distortion
This shit would be so much easier with a capo.
That distorted rock "sound" turns those altered chords to shit, WTF. . . . . . . . .