Great to see the survival line in here. My jazz professor in undergrad taught lines like this as “linear harmony”. I’ve found that having this line and expanding on it with ideas that you envision or have transcribed has completely changed how I navigate chord changes. Great video, Dave!
I'm a bit late to the party, here... but, Dude! your teaching style is excellent! Great vid! I just stopped the vid at each step to make sure I had it, and then went forward. Worked a charm. (playing guitar)
As I think you have noted elsewhere, too, you can treat the ii-7 as the V7 and vice-versa, as long as your voice leading is 'correct'. In other words the B-natural is a fine note over the D-7 and the C natural over the G7, as long as it leads to a good resolution (say ultimately the D natural (natural 9) over the C-7.
100%! It's all about the overall sound you're trying to create and then the resolution. Certain notes create certain sounds, and as long as you resolve them strongly you can try different combinations with success.
Question: In the minor 2-5-1 progression, is it more common for the 5 chord to be a dominant chord (i.e. with a major 3rd) rather than a minor 7th chord? (Because if the tune is in C aeolian the 3rd would be Bb. You use in C harmonic minor in this example.)
In the context of a minor 2-5-1 the V is dominant 7 flat 9. Yes if it’s in the natural minor “mode” you might tend to think it would be diatonic to that key, but in the context of the cadence (2-5-1) it’s not.
Wow, what a simple but logical theory! This is greater than anything I have ever learned, especially in terms of minor 2-5-1. Thank you so much! I am trying to create a solo of ANOTHER YOU to play next month. I am a beginner of the improvisation and the stage is my first stage to try out the improvisation. So, your theory is pretty good for me to make me simple and confident.
Learn to improvise beautiful melodic lines over any chord changes with this FREE masterclass:
►www.davepollack.com/freemasterclass
Great to see the survival line in here. My jazz professor in undergrad taught lines like this as “linear harmony”. I’ve found that having this line and expanding on it with ideas that you envision or have transcribed has completely changed how I navigate chord changes. Great video, Dave!
Thanks so much!!
Thank you, Dave! What an awesome lesson! The harmonic minor sound over the minor ii-V is an awesome sound!
Fantastic lesson Dave. You made my day! Thank you.
You're very welcome!
I'm a bit late to the party, here... but, Dude! your teaching style is excellent! Great vid! I just stopped the vid at each step to make sure I had it, and then went forward. Worked a charm. (playing guitar)
Amazing to hear!! Thank you 🙏🙏
Great lesson. Everything explained so clearly. Thank you.👍👍
Very nice and easy to understand. Thanks.
I appreciate that!
I love the Survival line concept, is it yours? Do you have a lesson on major 251 survival lines. Thanks 😊
Yup - here you go! ruclips.net/video/V37mDFqBkMo/видео.html
Amazing lesson！thanks man！
You’re very welcome!
As I think you have noted elsewhere, too, you can treat the ii-7 as the V7 and vice-versa, as long as your voice leading is 'correct'. In other words the B-natural is a fine note over the D-7 and the C natural over the G7, as long as it leads to a good resolution (say ultimately the D natural (natural 9) over the C-7.
100%! It's all about the overall sound you're trying to create and then the resolution. Certain notes create certain sounds, and as long as you resolve them strongly you can try different combinations with success.
Here’s how I learned it with LH rootless voicings s. m7b5 - dominant 7th. alternate- m7th.
Question: In the minor 2-5-1 progression, is it more common for the 5 chord to be a dominant chord (i.e. with a major 3rd) rather than a minor 7th chord? (Because if the tune is in C aeolian the 3rd would be Bb. You use in C harmonic minor in this example.)
In the context of a minor 2-5-1 the V is dominant 7 flat 9. Yes if it’s in the natural minor “mode” you might tend to think it would be diatonic to that key, but in the context of the cadence (2-5-1) it’s not.
@@DavePollack Thanks for clarifying this.
Thanks Dave. Great video. Dick
light bulb moment
Yeah… Your gonna have to start posting hourly now.
Good luck🤣
Wow, what a simple but logical theory! This is greater than anything I have ever learned, especially in terms of minor 2-5-1. Thank you so much!
I am trying to create a solo of ANOTHER YOU to play next month. I am a beginner of the improvisation and the stage is my first stage to try out the improvisation. So, your theory is pretty good for me to make me simple and confident.
Awesome! I have another video all about major 2-5-1s, so that will help you as well
@@DavePollack Yes, I checked ;-) Also, I am listening your solo of ANOTHER YOU as well :-)