Awesome lesson! Love the simple steps you break everything down to. I also convinced my professor to let me go through your book in my lessons next semester, can't wait to get started!
Nice step wise tutorial for beginners, if you like the ii-V style. However, when it comes to scales, the dorian everywhere as a simplification is not always optimal. On one spot, Abm, the usual scale is Ab jazz melodic minor because Db7 to C is in fact G7 - C.
I wouldn’t say the Ab melodic minor is the “usual” scale there, seeing as how it is Abm7 and not Ab minor/major 7. That said, you’re right that the melodic minor (G altered) can work there. I think that is a step too far for beginning students…often when I introduce something like that it just leads to confusion. Basics first.
@@TimCollinsVibes The approach in this video is definitely a very good kind of etude. Maybe "usual" is not the right word, "most logical" would be better. Then at least there is a clear final cadence that confirms that the song is in C major. Otherwise, nowhere is it clearly stated that the song is in C. One could argue that Abm7-Db7 is a deceptive cadence landing in C, but together with all those other unresolved ii-V's and their melodic interpretation as different major scales, the A section becomes extremely ambiguous, even non tonal. Perhaps one of the reasons why you seldom hear a good solo with long smooth melodic lines on this piece, unless you make some small harmonic adaptations. Ellington wrote only the melody, Strayhorn harmonized it, so no criticism for the duke 🙂
we missed your amazing videos so much Tim, you're amazing!!!!
Been my favorite chart ever since I saw the Ellington Orchestra play live, thanks Tim Collins!
Love these videos! Thanks for the time and effort I know it takes a lot. Thanks again 👍🏼👍🏼
Awesome lesson! Love the simple steps you break everything down to. I also convinced my professor to let me go through your book in my lessons next semester, can't wait to get started!
Ben Tornato Great Tim
Nice step wise tutorial for beginners, if you like the ii-V style. However, when it comes to scales, the dorian everywhere as a simplification is not always optimal. On one spot, Abm, the usual scale is Ab jazz melodic minor because Db7 to C is in fact G7 - C.
I wouldn’t say the Ab melodic minor is the “usual” scale there, seeing as how it is Abm7 and not Ab minor/major 7. That said, you’re right that the melodic minor (G altered) can work there. I think that is a step too far for beginning students…often when I introduce something like that it just leads to confusion. Basics first.
@@TimCollinsVibes The approach in this video is definitely a very good kind of etude. Maybe "usual" is not the right word, "most logical" would be better. Then at least there is a clear final cadence that confirms that the song is in C major. Otherwise, nowhere is it clearly stated that the song is in C. One could argue that Abm7-Db7 is a deceptive cadence landing in C, but together with all those other unresolved ii-V's and their melodic interpretation as different major scales, the A section becomes extremely ambiguous, even non tonal. Perhaps one of the reasons why you seldom hear a good solo with long smooth melodic lines on this piece, unless you make some small harmonic adaptations. Ellington wrote only the melody, Strayhorn harmonized it, so no criticism for the duke 🙂
Great vid. But I do miss the piano playing showing the left hand and right hand chords.