Hey everyone, enjoy your practice session! I’d also like to invite you to join our LJS Inner Circle membership where you can join hundreds of other musicians working on monthly jazz standard studies, in-depth practice programs, monthly live Q&A’s, and an amazing community of musicians learning together. Learn more about it here: members.learnjazzstandards.com/ljs-inner-circle/
Hey! Hope you enjoy your practicing session. Feel free to post a video of you jamming along below! We made this backing track with a cool practice tool called Band-in-a-Box. If you want to check out all the things you can do with it click here: www.learnjazzstandards.com/band-in-a-box/
+GiBrIs07 Try the Lydian Chromatic concept. Dominant chord you play lydian a whole step down. For ex. F7 you play Eb lydian, Bb7 you play Ab lydian. Major 7 - Root. Ex C Major 7 is C Lydian Minor 7 - Minor 3rd down. Ex - Gmin7 is Bb Lydian min7b5 - Flat 5th. Ex D-7b5 is Ab Lydian This might seem like it is the same as the modes but it is not as there is a different tonal gravity. Try it :)
Pardon: Why you should think in "lydian" mode? Just mixolidian... Eb lydian and Fmixo have the same exact notes but you loose the reference for the chord! It's just more complicated. Play on eb lydian on f7 is just ad to play d phrigian or c dorian or bb ionian od g aeolian etch... Maybe is more sense to understand the tensions... On F7 you can play the chord tones: F-A-C-Eb then you consider the tensions: M9-P11-M13 you're Mixolidian (or lydian one step down to complicate) or you can play the M9-A11-M13 for a lydian dominant sound (minor melodic mode) or a Mixo b9b13 to a minor harmonic sound... On a dom7 chord you can play almost everything, the chord supports all the tensions... You "just" have to know the sound you want and the "sound" is given by the tensions. Scales alone doesn't have a "sound". The tensions on a chord have a sound. It may be the same but more complete than learn thousand of scales and shift them thousand times... It's a "tension approach" instead of "scales approach" that's much more practical and flexible in the study of harmony.
This recording is in F, my Real Book has this chart in B-flat. Not too bad to transpose, but it would be nice to just read the notes. Any way you could add a B-flat version?
Hey everyone, enjoy your practice session! I’d also like to invite you to join our LJS Inner Circle membership where you can join hundreds of other musicians working on monthly jazz standard studies, in-depth practice programs, monthly live Q&A’s, and an amazing community of musicians learning together. Learn more about it here: members.learnjazzstandards.com/ljs-inner-circle/
Hey! Hope you enjoy your practicing session. Feel free to post a video of you jamming along below! We made this backing track with a cool practice tool called Band-in-a-Box. If you want to check out all the things you can do with it click here: www.learnjazzstandards.com/band-in-a-box/
Monk wrote it and always plays it in Bb. Most jazz musciians, Miles, et al, play it in F. Need to learn to play it in both keys. Not too difficult.
especially if you're a guitarist! EHEH!
@@sand69 I know, right.
Solo stars at about 0:35
What sort of scales could I use besides F pentatonic, mostly over the II/II and the V/II chords? thx
+GiBrIs07
Try the Lydian Chromatic concept. Dominant chord you play lydian a whole step down. For ex. F7 you play Eb lydian, Bb7 you play Ab lydian.
Major 7 - Root. Ex C Major 7 is C Lydian
Minor 7 - Minor 3rd down. Ex - Gmin7 is Bb Lydian
min7b5 - Flat 5th. Ex D-7b5 is Ab Lydian
This might seem like it is the same as the modes but it is not as there is a different tonal gravity. Try it :)
Pardon:
Why you should think in "lydian" mode? Just mixolidian... Eb lydian and Fmixo have the same exact notes but you loose the reference for the chord! It's just more complicated. Play on eb lydian on f7 is just ad to play d phrigian or c dorian or bb ionian od g aeolian etch...
Maybe is more sense to understand the tensions...
On F7 you can play the chord tones: F-A-C-Eb then you consider the tensions: M9-P11-M13 you're Mixolidian (or lydian one step down to complicate) or you can play the M9-A11-M13 for a lydian dominant sound (minor melodic mode) or a Mixo b9b13 to a minor harmonic sound...
On a dom7 chord you can play almost everything, the chord supports all the tensions...
You "just" have to know the sound you want and the "sound" is given by the tensions. Scales alone doesn't have a "sound". The tensions on a chord have a sound. It may be the same but more complete than learn thousand of scales and shift them thousand times...
It's a "tension approach" instead of "scales approach" that's much more practical and flexible in the study of harmony.
I would use F pentatonic, F Dorian and F mixolydian.
basically a twelve bar blues?
yes !
still love it!!
never trust a real book
This recording is in F, my Real Book has this chart in B-flat. Not too bad to transpose, but it would be nice to just read the notes. Any way you could add a B-flat version?
Don't read the notes in jazz. Hear them.
@@ryanconway5314 awantia
my real book is in F.
Is this in F or in B-flat? LOL
F
Listen
lol