I struggled for so long to play over the bridge of cherokee and asked myself what professionals think when they play that at high tempo. Thanks for these great ideas! So helpful!
when you first starting explaining I was kinda shaking my head, thinking like this is an OVER simplification of jazz language, but after you showed the playing example I had to check myself for being too elitist. Sounds great. I think its a great tool for beginners who want to get playing and improvising (the most important thing) without spending forever transcribing and learning intricate theory. I think if you taught somebody this and got them to start jamming, they'd figure out what other notes and such work on their own. Like Charlie Parker, just finding the pretty notes :)
Thanks for this and I am going to try it. Besides your lesson here on 2-5-1, I learned that going up 3 steps from minor gets you to the major key. I am just starting on my theory studies, so that was a new tip for me as well.
Brilliant, Dave! I re-watched your Giant Steps video and I was able to apply your relative major of the ii chord concept to the Giant Steps changes. Time to practice! Thanks much!
Dave this is terrific. Anything that can be made simple enough to enable someone to have a go is so important because it encourages us to play with freedom and creativity instead of bearing the fear of inadequacy. This may offend music professionals but it helped me no end when working through your method I realised that the second, third and fourth notes of the II chord form the relative major arpeggio, to which you just need to add the M7. Even this sounds complicated but if the II chord is a Dm7 - D F A C, then F A C is the relative major arpeggio to which you just need to add the M7th - E. I won't repeat your excellent explanation of why this works across all three chords, but it is clear that it does. I got a bit stuck in trying to play the 251 chord tones having ended up repeating and repeating the sound of the II chord 7th down to the V chord 7th - which sounded great when I did it first, but now.......! Not sure if you will appreciate this analogy Dave, but you are like the Jamie Oliver of Sax teaching. Like him I watch or listen to you and you immediately make me want to have a go. Thanks very much great stuff.
Nice. You're videos are always clear, to the point, and deal with simple important topics. Thanks! I've heard something like this elsewhere: pre-choose a few notes that fit and sound great to limit your confusion. However, I'm not sure about the 'play an EbMaj7 as it is is the relative major of the ii chord (Cm7)'. That's too much math. I'd prefer to arpeggiate and extend up from the 3rd (Eb on the Cm7 chord), and think and hear a Cm9, and then an F13.
Doesn't this reduce the opportunity for voice leading when you get to the I chord? Consider an e - A7 - Dmaj progression. Playing the Gmaj7 chord gives G - B - D - F#. One could easily end up on the F# on the quarter or eighth note right before going into the D maj7 and then where do you go? In your Cherokee example you went to the 9th of the I chord. (I realize this gets into personal preference). There are some ii-V licks in the Coker book that similarly end up on a chord tone of the I chord on beat 4 1/2. The licks are great to practice in isolation, but get awkward when you actually add a I chord afterward.
The Relative minor of the ii is the IV of the I. I thought that was an avoid tone? D- G7 C^7. The ii is D-. Relative minor is F. Are you subconsciously avoiding that note when you hit the resolution?
This way of thinking is just for the 2-5, and NOT for the resolution (1) chord. So yes, on a 2-5-1 to C major, I'm only thinking the Fmaj7 over the Dm7 and G7 - NOT over the Cmaj chord.
Thanks so much! It's a Conn 10m (not sure what year - I think a "later" one) with a 10mfan "The Classic" mouthpiece, size 7**. Reeds are Boston Sax Shop 3
Hi so quick question, is it wrong to memorize all of my Dorian and mixolydian scales and practice two fives only using them? Because I have done that and I am unsure If I have wasted my time doing that, can you elaborate on this? Thank you!
Well first off it's not a waste to learn and practice the modes of the major scale (dorian and mixolydian included). The problem is when you just use them exclusively to solo over 2-5s. Many people are taught this way, but it puts you in a box of playing one way (usually linear and vertically) and you don't actually create melody through the chords. If you haven't seen it yet, watch my free masterclass on voice leading and that should help take what you already know (scales, modes, keys, etc.) and combine that with strong voice-leading to create melodies through chords. THAT'S where the magic happens!
Would this work on trumpet? I’m a new player and the transposing blows my mind lol I don’t 100% get it. These appear to be the same notes for the chords.. I saw a trumpet video where they suggested trying just the major I scale for the progression, but I’ll try this too if it would fit!
@@DavePollack Thanks Dave! I guess I just want to be sure, so I can read these same notes on the screen and use these chords for Bb trumpet? I just don’t want to get the wrong ideas in my head if I’m supposed to transpose this stuff. Thank you so much for the amazing content!
Play Bmaj over Db7, that’s what Bird, Trane and Sonny preached 💀 Play mix of 5 and 2 and resolve major, that’s what trane started doing in his legendary Atlantic run, and he was taught that by Barry Harris
Important chords in Barry Harris's framework. Bmaj7 is the b7th of Db7. You can use Db7 half step rules with Bmaj7 as the framework. You could also use a Bmaj7 pivots within the Db7. Cannonball loves the important chord off the b7th of the dominant as well.
Thank you for your suggestioni, but I can't get why I should think to a chord for the II - V degrees and then to a scale for the I degree, when I can think just one scale (the I major scale) for all the progression🤷♂️
Learn to easily improvise through any chord changes with this FREE masterclass:
►www.davepollack.com/freemasterclass
The wealth of material on RUclips is absolutely Amazing. Thanks so much for your approach.
Thanks Santa! You're the gift that keeps on giving!
😂 you’re welcome!
I struggled for so long to play over the bridge of cherokee and asked myself what professionals think when they play that at high tempo. Thanks for these great ideas! So helpful!
Such a phenomenal video from beginning to end! I absolutely love your approach to teaching!!!! Your playing and sound are phenomenal!
Man! This is by far THE BEST 2-5-1 sound I’ve ever heard!!! Thank you so much
Damn, the last example really convinced me. I'll have to try this out thorougly myself
Go for it!
Short II V I’s have always confused me😂. This makes it so simple. Dave you are a genius!
Thank you so much!!!
when you first starting explaining I was kinda shaking my head, thinking like this is an OVER simplification of jazz language, but after you showed the playing example I had to check myself for being too elitist. Sounds great. I think its a great tool for beginners who want to get playing and improvising (the most important thing) without spending forever transcribing and learning intricate theory. I think if you taught somebody this and got them to start jamming, they'd figure out what other notes and such work on their own. Like Charlie Parker, just finding the pretty notes :)
This is probably the most helpful guide I have seen ! Thank you.
Brilliant. Love how the simplicity of this idea frees the player up for complexity and experimentation.
100%! That’s exactly why I like to think this way - the complexity should come from the music, not the theory.
Cleaning brains with smarts tools ! Thanks Dave !
You’re very welcome!
Bingo!!!! You did it, a masterpiece video!!! sounds great, great info!!!
Thanks so much!
Great tip and video. Chet Baker did this all the time
Best major 251 improvisation lesson on RUclips！looking forward the minor251 lesson！
Thanks for this and I am going to try it. Besides your lesson here on 2-5-1, I learned that going up 3 steps from minor gets you to the major key. I am just starting on my theory studies, so that was a new tip for me as well.
You’re very welcome! Hope it comes in handy for you
Yo Yo Yo........from this lesson I really appreciate the gift you are giving. You are truly an enlightened player. Thank you!
I really appreciate those kind words!
Brilliant, Dave! I re-watched your Giant Steps video and I was able to apply your relative major of the ii chord concept to the Giant Steps changes. Time to practice! Thanks much!
That’s so awesome!!
Brilliantly simplified!
Thanks!
Brilliant, I love short cuts that work
Liked and subscribed!!! Always looking for different approaches for 2-5-1’s
Awesome!!
This is a great lesson. Thanks for the inspiration.👊🏾👊🏾
Thanks, man ! Your method works wonders !!
You're very welcome and that's incredible to hear!
Dave this is terrific. Anything that can be made simple enough to enable someone to have a go is so important because it encourages us to play with freedom and creativity instead of bearing the fear of inadequacy.
This may offend music professionals but it helped me no end when working through your method I realised that the second, third and fourth notes of the II chord form the relative major arpeggio, to which you just need to add the M7. Even this sounds complicated but if the II chord is a Dm7 - D F A C, then F A C is the relative major arpeggio to which you just need to add the M7th - E.
I won't repeat your excellent explanation of why this works across all three chords, but it is clear that it does.
I got a bit stuck in trying to play the 251 chord tones having ended up repeating and repeating the sound of the II chord 7th down to the V chord 7th - which sounded great when I did it first, but now.......!
Not sure if you will appreciate this analogy Dave, but you are like the Jamie Oliver of Sax teaching. Like him I watch or listen to you and you immediately make me want to have a go.
Thanks very much great stuff.
Man, this is amazing!!! I love this sound and the simplicity of the method!
Thanks
Thank you so much!
Love this approach. Thanks!
You’re welcome!
Wow, love simplifying anytime it makes sense and works. Thank you!!! Love your chops!
Excellent!
Great video, thank you algorithm
Haha thanks!
Fabulous concept, great lesson. Thanks Dave.
Thanks for sharing this, Dave!
You’re very welcome!
Great as always!🙂
WOAW !! your videos answer my biggest question : HOW TO SIMPLIFY THINGS ?
I'm ALL about simplifying the process!
Good stuff - thanks!
You're welcome!
Nice. You're videos are always clear, to the point, and deal with simple important topics. Thanks!
I've heard something like this elsewhere: pre-choose a few notes that fit and sound great to limit your confusion. However, I'm not sure about the 'play an EbMaj7 as it is is the relative major of the ii chord (Cm7)'. That's too much math. I'd prefer to arpeggiate and extend up from the 3rd (Eb on the Cm7 chord), and think and hear a Cm9, and then an F13.
Cool - thank you!
You’re welcome!
Thank you
Very welcome!
Awesome concept/lesson!!
This is wild. I'm actually working on improvising to the song Cherokee, on guitar.
This concept works great!!
Thanks.
👍🎩👍
You're very welcome! So glad it has helped you.
Thanks Dave!! One question, what mpc do you use? And Reed?
You’re welcome! It’s a boston sax shop m-series size 8 with boston sax shop silver box 3.5 reeds
Insane
Thanks!
Doesn't this reduce the opportunity for voice leading when you get to the I chord? Consider an e - A7 - Dmaj progression. Playing the Gmaj7 chord gives G - B - D - F#. One could easily end up on the F# on the quarter or eighth note right before going into the D maj7 and then where do you go? In your Cherokee example you went to the 9th of the I chord. (I realize this gets into personal preference).
There are some ii-V licks in the Coker book that similarly end up on a chord tone of the I chord on beat 4 1/2. The licks are great to practice in isolation, but get awkward when you actually add a I chord afterward.
Brillant and I will try today. But where is the linkage to your masterclass?
It's the first link right at the top of the description
Great thanks 🙏
You’re welcome!
The Relative minor of the ii is the IV of the I. I thought that was an avoid tone?
D- G7 C^7. The ii is D-. Relative minor is F.
Are you subconsciously avoiding that note when you hit the resolution?
This way of thinking is just for the 2-5, and NOT for the resolution (1) chord. So yes, on a 2-5-1 to C major, I'm only thinking the Fmaj7 over the Dm7 and G7 - NOT over the Cmaj chord.
Hey you’re probably not going to respond but what is your tenor sax setup? + love the vids
Thanks so much! It's a Conn 10m (not sure what year - I think a "later" one) with a 10mfan "The Classic" mouthpiece, size 7**. Reeds are Boston Sax Shop 3
Hi Dave, where do you cover the minor 2 5 1?
ruclips.net/video/gF0ALXc35hA/видео.htmlsi=LWrMTF4ODwLotZtW
Thank you so much Dave. Great stuff.
Hi so quick question, is it wrong to memorize all of my Dorian and mixolydian scales and practice two fives only using them? Because I have done that and I am unsure If I have wasted my time doing that, can you elaborate on this? Thank you!
Well first off it's not a waste to learn and practice the modes of the major scale (dorian and mixolydian included). The problem is when you just use them exclusively to solo over 2-5s. Many people are taught this way, but it puts you in a box of playing one way (usually linear and vertically) and you don't actually create melody through the chords. If you haven't seen it yet, watch my free masterclass on voice leading and that should help take what you already know (scales, modes, keys, etc.) and combine that with strong voice-leading to create melodies through chords. THAT'S where the magic happens!
🤯 awesome
🙏
Would this work on trumpet? I’m a new player and the transposing blows my mind lol I don’t 100% get it. These appear to be the same notes for the chords.. I saw a trumpet video where they suggested trying just the major I scale for the progression, but I’ll try this too if it would fit!
Absolutely! This is definitely not instrument-specific
@@DavePollack Thanks Dave! I guess I just want to be sure, so I can read these same notes on the screen and use these chords for Bb trumpet? I just don’t want to get the wrong ideas in my head if I’m supposed to transpose this stuff. Thank you so much for the amazing content!
Play Bmaj over Db7, that’s what Bird, Trane and Sonny preached 💀
Play mix of 5 and 2 and resolve major, that’s what trane started doing in his legendary Atlantic run, and he was taught that by Barry Harris
Important chords in Barry Harris's framework. Bmaj7 is the b7th of Db7. You can use Db7 half step rules with Bmaj7 as the framework. You could also use a Bmaj7 pivots within the Db7. Cannonball loves the important chord off the b7th of the dominant as well.
Thank you for your suggestioni, but I can't get why I should think to a chord for the II - V degrees and then to a scale for the I degree, when I can think just one scale (the I major scale) for all the progression🤷♂️
You can if you want, but you won’t be highlighting specific chord tones to give strong harmonic motion through the changes
Any similar tip for minor 2 5 1?
Yep! ruclips.net/video/gF0ALXc35hA/видео.htmlsi=mL9g0eCSwqSpMmER
Would this be the same as outlining the ii9 (ignoring the root since probably played by the bass) ? For some reason that makes more sense to me .
My man spittin major IV substitution truth!
Thanks. great lesson. Dick
I appreciate that!
And it's as smooth as a baby's bottom!