Randy you're doing a fantastic job, I'm a older professional musician and only wish that you'd been doing this in 1975. Smile. What a blessing you are for sharing your knowledge. Please continue. Thx.
Hey Bret, I just finished your book it was great, it’s got me a lot more excited about learning jazz! I’m going to use Blue Bossa to expand my jazz repertoire but I’m not sure where to look for a simple Blue Bossa solo to learn jazz language. The Joe Henderson and Dexter Gordon Solos seem a little tough for a first jazz solo to transcribe. Do you have a recommendation for whose solo to start with? Thank you!
I was introduced by chord analysis with your videos. So respectfully, now I developed the idea that analyzing chord progression without the melody is not usually helpful for me. Consider the first page of ruclips.net/video/2fFDbuW1AfM/видео.html . The first thing to realize: 16-bars structure, divided in 4 blocks. If you just check the melody, even without reading scores it's very clear that the 3 first blocks have a similar drawing of melody, and the forth must be something to resolve. If you just check the notes of the 3 first blocks, without even knowing which note is, you see that, although they're similar, they each step lower; so something is happening with the tension. What I see is that the first block is a C-Myxolydian on C in Carles Margerit's transcription, or Bb-Ml yours. In the 2nd block, the ii-V-i is a clear arrival to Eolian-D in CM's, or Eolian-C in yours. I guess you spotted/agree with this tension change by coloring with orange; but not naming it a change on key center, because myxolydian-Bb and Eolian-C are enharmonic (ie, same notes). I've just have colored the whole first block with 4 bars in orange, but Ok. However, in your bars 10-13 that I see how analyzing the progression without the melody is a miss: It seems that this "new key center" is completely unrelated; if to simplify we keep in mind that we are in myxolydian-Bb, that's a typical switch to the "relative" ionic-Db. Enharmonically, it's the switch from a major Bb key to a minor Bb key! So, even if "Db has nothing to do with C", this passing is so smooth and sounds just a light tension! Beautiful! And how did I spot that? In CM's transcription, I checked that the only note transformation was the second note of the bar 17; it's a Eb, instead of E from the bar 13, the major blues note of C (or of Bb, in the key used by your analysis). The 4th block: There is little information in the main melody to define the mode, it can as the 2nd, with the turnaround, but I have a sensation that me meant a doric blues. Things can get interesting, if you check the bar 125 in CM's transcript, Kenny Dorham goes with a prometheus scale, 150 augmented scale, and so on =)
Sounds like composing a jazz song is just to put some chords together as long as you understand the circle of fifths. Then leave the player to improvise melody. Wow, that's an easy job.
I’m studying Blue Bossa right now - this is very helpful, thanks. Question - in the minor 2 5 1 why is the 5 a dominant 7th instead of the diatonic minor 7th?
I'm sure you already have your answer, but just in case someone else is asking the same question in Cm you'll likely either use the natural minor scale or the Dorian scale for this tune. Natural minor is C D Eb F G Ab Bb C. Using this scale, if you build a chord from the 7th, you'll get Bb D F Ab. Unlike C major (C D E F G A B C) where a scale built from the 7th would be B D F A which is B half diminished.
The simple answer is that V-I is a standard resolution, which requires the leading tone (in C minor that’s B natural). Thus, G7 with the B natural leads to C-.
Why has no one mentioned that the Bb7 chord doesn't appear in the chord progression (ref. REAL BOOK). All this talk about a chord that isn't even in the song. What's up with that????
@@Learnjazzstandards Hmm. So I listened to the Joe Henderson version (remastered) and indeed, the Bb7 is there. So WHY do so many transcriptions just continue the Fm7?? The Bb7 is quite subtle in the recording, but yes, is definitely there. You are vindicated!!
@@randysonnicksen9475 Randy I thought the same thing about Bb7 until I really listened. I actually enjoy learning stuff I didn't know. After playing for many year's professionally I know that Mastering standards was a must. This learning standards channel is a dream come true. Learning some things the second time around is better then the first. Respectfully. Unless you have a good real book a lot of the changes are wrong. Do a real book history search. I played for year's using the real book a got schooled many times by more seasoned Player's , that many real book chords are more vanilla then actual. No disrespect to all vanilla changes just some. Smile. Also only strong men can admit when they've been corrected. I liked the way you and Randy handled things. That Fmin7 to Bb7 is also a back door to Cmin7. Be blessed
Randy you're doing a fantastic job, I'm a older professional musician and only wish that you'd been doing this in 1975.
Smile.
What a blessing you are for sharing your knowledge.
Please continue.
Thx.
Excellent, thank you. Would you do an analysis of Wave by Jobin
don't usually see that Bb7 in most versions of the song. Bar 4 is generally still Fm7 - staying in the minor mode.
Thanx, LJS🌹🌹🌹🌹
thank you, this is what i need for understanding Jazz!
Thanks for this ❤️. Learning blues bossa now
Awesome stuff man! This is really useful
Amazing simplicity! The author, no doubt, think to make the life of improviser easier!
Great teaching, like yours, sells itself. Hard sells are a turn-off even for great teachers. Thank you for these analysis videos :)
Hey Bret, I just finished your book it was great, it’s got me a lot more excited about learning jazz! I’m going to use Blue Bossa to expand my jazz repertoire but I’m not sure where to look for a simple Blue Bossa solo to learn jazz language. The Joe Henderson and Dexter Gordon Solos seem a little tough for a first jazz solo to transcribe. Do you have a recommendation for whose solo to start with? Thank you!
Instead of a Bb in the melody, I play a B nat. during the Galt chord. I get a lot of strange looks but it sounds cool to me.
I was introduced by chord analysis with your videos. So respectfully, now I developed the idea that analyzing chord progression without the melody is not usually helpful for me. Consider the first page of ruclips.net/video/2fFDbuW1AfM/видео.html . The first thing to realize: 16-bars structure, divided in 4 blocks. If you just check the melody, even without reading scores it's very clear that the 3 first blocks have a similar drawing of melody, and the forth must be something to resolve. If you just check the notes of the 3 first blocks, without even knowing which note is, you see that, although they're similar, they each step lower; so something is happening with the tension. What I see is that the first block is a C-Myxolydian on C in Carles Margerit's transcription, or Bb-Ml yours. In the 2nd block, the ii-V-i is a clear arrival to Eolian-D in CM's, or Eolian-C in yours. I guess you spotted/agree with this tension change by coloring with orange; but not naming it a change on key center, because myxolydian-Bb and Eolian-C are enharmonic (ie, same notes). I've just have colored the whole first block with 4 bars in orange, but Ok. However, in your bars 10-13 that I see how analyzing the progression without the melody is a miss: It seems that this "new key center" is completely unrelated; if to simplify we keep in mind that we are in myxolydian-Bb, that's a typical switch to the "relative" ionic-Db. Enharmonically, it's the switch from a major Bb key to a minor Bb key! So, even if "Db has nothing to do with C", this passing is so smooth and sounds just a light tension! Beautiful! And how did I spot that? In CM's transcription, I checked that the only note transformation was the second note of the bar 17; it's a Eb, instead of E from the bar 13, the major blues note of C (or of Bb, in the key used by your analysis).
The 4th block: There is little information in the main melody to define the mode, it can as the 2nd, with the turnaround, but I have a sensation that me meant a doric blues. Things can get interesting, if you check the bar 125 in CM's transcript, Kenny Dorham goes with a prometheus scale, 150 augmented scale, and so on =)
the first two blocks are in C minor ( the melody is in c aeolian - not mixolydian!) minor can be many things depending on the improviser.
Sounds like composing a jazz song is just to put some chords together as long as you understand the circle of fifths. Then leave the player to improvise melody. Wow, that's an easy job.
Does your inner circle membership cover all chord analysis for all tunes?
Yes, color-coded chord analyses are part of our resource pack for all the Monthly Jazz Standards Club Study. We are on our 42nd song.
I’m studying Blue Bossa right now - this is very helpful, thanks. Question - in the minor 2 5 1 why is the 5 a dominant 7th instead of the diatonic minor 7th?
I'm sure you already have your answer, but just in case someone else is asking the same question in Cm you'll likely either use the natural minor scale or the Dorian scale for this tune. Natural minor is C D Eb F G Ab Bb C. Using this scale, if you build a chord from the 7th, you'll get Bb D F Ab. Unlike C major (C D E F G A B C) where a scale built from the 7th would be B D F A which is B half diminished.
The simple answer is that V-I is a standard resolution, which requires the leading tone (in C minor that’s B natural). Thus, G7 with the B natural leads to C-.
Just a question, in ur sheet it says c minor 7 but in most other sheets it's a cmin6, just curious
Why has no one mentioned that the Bb7 chord doesn't appear in the chord progression (ref. REAL BOOK). All this talk about a chord that isn't even in the song. What's up with that????
Hi Randy, be wary of using changes from the Real Book. If you listen to the original recording the Bb7 is in there
@@Learnjazzstandards Hmm. So I listened to the Joe Henderson version (remastered) and indeed, the Bb7 is there. So WHY do so many transcriptions just continue the Fm7?? The Bb7 is quite subtle in the recording, but yes, is definitely there. You are vindicated!!
@@randysonnicksen9475
Randy
I thought the same thing about Bb7 until I really listened.
I actually enjoy learning stuff I didn't know.
After playing for many year's professionally I know that Mastering standards was a must.
This learning standards channel is a dream come true.
Learning some things the second time around is better then the first.
Respectfully.
Unless you have a good real book a lot of the changes are wrong.
Do a real book history search.
I played for year's using the real book a got schooled many times by more seasoned
Player's , that many real book chords are more vanilla then actual.
No disrespect to all vanilla changes just some.
Smile.
Also only strong men can admit when they've been corrected.
I liked the way you and Randy handled things.
That Fmin7 to Bb7 is also a back door to Cmin7.
Be blessed
Modal
Its simply a blues with fancy chords and is no big deal.
I'm sorry but for me - Bb7 doesn't fit here at all
please stop playing "blue bossa"!!! 🙏
Why