Nice job, Mikko. I'd suggest that the root motion (not so much the sus) of up a m3 in the B section mirrors the A section. Coltrane used the axis of m3 concept (subbing dominant chords a m3 apart) quite a bit as well as the M3 (Giant Steps). Thanks.
I love the sus sound! And another great thing you can do with it is just transform any dominant seventh chord into a sus chord! That sounds really good to- (but I guess you already know that)I transcribed a blues solo from Peter Bernstein where he does that all the time with quartal harmony voicings- it sounds so cool😅
It’s on his recording „monk“ and the blues is called „ blues 5 spot“- I only transcribed 3 chorusses or so.... he is playing like 10 chorusses!! Insane but very smooth maybe I should transcribe the whole solo😅😅
You can think of the A section as going from C Maj to C-. Then you can think of the B section doing the same thing a semi-tone higher. That makes it easy to remember and makes it easier to provide continuity.
Another fun idea to experiment with over modal sus vamps is to think of each key as 3 overlapping Pentatonic scales: Dsus13=D+C+G Major Pentatonics (or Bm+Em+A minor Pentatonics). It seems to widen the color palette automatically because the Fretboard shapes are already super familiar to most players and there are 16 beats per chord so there's a lot of time to mix them up.
Yes that is a great idea. I didn't get into the pentatonics too much because I didn't want the video to be three hours long. 😀😳 there are so many options: triad pairs, boo scales etc etc
@@Mikkokosmos you always do ! The band that you might have seen videos of me is kinda broken up so Im going back to work on jazz stuff that I was so much better at like 10 years ago !
Great video Mikko! Coming out of the pop/rock culture (read pentatonics/aeolian) into jazz thing, it always confused me why sus chords are always interpreted as dom7 with suspension :)? Why can’t we actually interpret them as minor chords, for example, why not play a aeolian over them... or even d aeolian, that way you get F, not F#, but there is no third in bacing chords, so it sounds fine to me.... What do you think?
It's a good question. In some cases the aeolian mode would be the best choice, like for example if we have a vamp like Dm C/D Bb/D C/D etc. However on Maiden Voyage the F sounds funny to me on the Dsus even though I have heard people use that scale and make it work. But in my opinion it sounds weak if you play the aeolian mode instead of dorian unless you really know what you're doing and that's the sound you're going for. At the and of the day, rules are meant to be broken at some point. But the A dorian or D mixo (however you wanna look at it) is the best sound for this tune in my opinion. It gives you that open nice modal sound.
Even Herbie was young when he recorded this tune, I think it's one his greatest compositions. Harmonically interesting, Spell binding feel, with an amazing melody. A simple tune? I don't think so....
Nice job, Mikko. I'd suggest that the root motion (not so much the sus) of up a m3 in the B section mirrors the A section. Coltrane used the axis of m3 concept (subbing dominant chords a m3 apart) quite a bit as well as the M3 (Giant Steps). Thanks.
yes that's right. Also very much in the style of Kenny Wheeler
I love the sus sound! And another great thing you can do with it is just transform any dominant seventh chord into a sus chord! That sounds really good to- (but I guess you already know that)I transcribed a blues solo from Peter Bernstein where he does that all the time with quartal harmony voicings- it sounds so cool😅
Cool. Which blues solo? Is the transcription on your channel? 🤓
It’s on his recording „monk“ and the blues is called „ blues 5 spot“- I only transcribed 3 chorusses or so.... he is playing like 10 chorusses!! Insane but very smooth maybe I should transcribe the whole solo😅😅
@@tinajackel I gotta check that out 😎
You can think of the A section as going from C Maj to C-. Then you can think of the B section doing the same thing a semi-tone higher. That makes it easy to remember and makes it easier to provide continuity.
Great stuff!
Thank you for selecting this great tune for practice. Just found out sus chords work well with line form concepts from Linear Expressions.
Yess! It would work perfectly. I have to try that 😎
Another fun idea to experiment with over modal sus vamps is to think of each key as 3 overlapping Pentatonic scales:
Dsus13=D+C+G Major Pentatonics (or Bm+Em+A minor Pentatonics). It seems to widen the color palette automatically because the Fretboard shapes are already super familiar to most players and there are 16 beats per chord so there's a lot of time to mix them up.
Yes that is a great idea. I didn't get into the pentatonics too much because I didn't want the video to be three hours long. 😀😳 there are so many options: triad pairs, boo scales etc etc
Another amazing lesson! Thanks Mikko
Greetings from Venice, Italy
Alberto
Thank you Alberto 😀
Thanks for this helpful explanation!
Mikko.... I love this lesson....Thank you
im always checking out your stuff buddy - i was working on the song night in Tunisia and you had something on that !
Great. I hope that maybe it gave you some ideas 😀
@@Mikkokosmos you always do ! The band that you might have seen videos of me is kinda broken up so Im going back to work on jazz stuff that I was so much better at like 10 years ago !
Nice lesson!
Thanks.
Great Lesson my friend!
Great video Mikko! Coming out of the pop/rock culture (read pentatonics/aeolian) into jazz thing, it always confused me why sus chords are always interpreted as dom7 with suspension :)? Why can’t we actually interpret them as minor chords, for example, why not play a aeolian over them... or even d aeolian, that way you get F, not F#, but there is no third in bacing chords, so it sounds fine to me.... What do you think?
It's a good question. In some cases the aeolian mode would be the best choice, like for example if we have a vamp like Dm C/D Bb/D C/D etc. However on Maiden Voyage the F sounds funny to me on the Dsus even though I have heard people use that scale and make it work. But in my opinion it sounds weak if you play the aeolian mode instead of dorian unless you really know what you're doing and that's the sound you're going for. At the and of the day, rules are meant to be broken at some point. But the A dorian or D mixo (however you wanna look at it) is the best sound for this tune in my opinion. It gives you that open nice modal sound.
that sounds great
This was great!! Thx
Even Herbie was young when he recorded this tune, I think it's one his greatest compositions. Harmonically interesting, Spell binding feel, with an amazing melody. A simple tune? I don't think so....
Thanks! Great! 🎸👍
Glad you like it 😀
Very interesting tutorial , great presentation , playing and tone .Thanks for sharing..and friendly greetings ! ( I follow , like 45 and new sub)
Thank you /Mikko
I've always seen the chords as Cmaj7/D EbMaj7/F Dbmaj7/Eb Bmaj7/Db ... am i wrong?
No that is also a correct way of looking at it, however I get confused by B/Db I prefer B/C# 🤠
Hello mikko! I love your videos. By any chance, could you do an in dept video of quartal harmony? Thank you!
Hey Samuele, yes that's a great idea. I have covered it a little bit in a previous video called "use the fourth" 🤓🤓🤓
Something about the title is very sussy...