It is common for Be Bop guys like Bud Powell to play Ami7-5 to D7-9 to the G7 chord. He is thinking about a minor ii-v to G7. I learned this when I studied with Barry Harris who really knew a lot about Bud Powell and Monk.
Owen Chimuka Very clever of you to have figured out what Mr. Powell was up to here - this is no small feat!. Thanks for putting in the time and effort you have to make and present this video!
Very nice. Thanks I like your video. Please continue to post more videos. It's better to learn form you than some other channels that don't show practical examples like you do. Keep it up and you will see your channel explode with subscribers.
This was great, Thank you. I love Bud Powell, and I have noticed alot of interesting note choices in some transcriptions that I've done in the past. The way you are thinking of it makes alot of sense as to how Bud was probably approaching tunes. Fantastic video
Nice analysis. Another way to look at this, is to see it as a Backdoor Progression. This is a very common voicing in jazz. Instead of resolving through a II-V cadence, one can use the alternative IV-VII - in your example, Gm7-C7-D7. This is a really nice resolution. You find it in a tune like Lady Bird, however resolving to a major chord, instead of a dominant chord like here.
6:00 I think it’s simpler, since F7 comes from the Bb major scale, I think he is just thinking Bb major against D7 or even against that 2-5 to D7 7:55 here as well, he thinks directly F major scale
Awesome, I would add that this works because most of the notes of those chords over the 4 notes chord are tensions and fit the harmony, but the way you approach it is much easier to thinlk than having all the tension notes of the chord in mind. Yet this is someone to have in mind for specific cases, for example if you are playing a dominant to go to a minor chord you should consider the b9 and b13, while if you think only in the scale over the dominant you will miss those cool tension notes.
You can play any dominant scale related like for D7 you can play F, Ab, B 7. because they are related, or you can run them one into the other, endless possibilities...
He used "skeleton" chords in his left hand-enabled him to comp faster-and left more scale types open for each chord. Also-stay off the tonics in the left hand. Play a C7 with only E and Bb in the left hand-in whatever inversion fits your right hand if you are playing with a bass player. You can also use the flatted fifth scale tone scale against whatever your root is. In C, play F# to get a nice outside sound.
dear sir, could you please tell us the quality of the chords of the C7 scale? , the ones you played, the ones you said we should arpeggiate. i know its homework one has to do, but it would be a tremendous help to know that for future reference:) thannk you
Hi Lucas. Thanks for your question. The 1st chord is a dominant 7th, the 2nd is a minor 7th, the 3rd is minor 7 flat 5 the 4th is a Major 7th the 5th is minor 7th the 6th is a minor 7th the 7th is a Major 7th
@@owenchimuka8168 so it's the same qualities as the mayor scale starting from the fifth:) thank you sir, i'm ecstatic:) , there is a lot of material to explore , it should have more views:) thanks again for taking the time to explain :) i'm grateful:) Namaskaram:)
Hi are you South African? :) great analysis. Just had a thought that the A-7b5 could well come from C-6° scale. They would usually play C-6° over F7 as that scale has a -7b5. Also, if it were a 251 they'd play it like this... Eb6° over C-7 C-6° over F7 Bb6° over BbMaj7 Also using the dimished voicings inbetween the chord inversions for movement. Or maybe not! Great video either way. 🙌
Thanks David. Although I've never met Barry, I'm a huge fan (& disciple) of his. I've seen all his videos on youtube and they are extremely enlightening. He's definitely the master in my opinion. I actually want to get all his books-I've heard they are available
@@owenchimuka8168 You could check out my teacher's uTubes @ Things I've Learned From Barry Harris. The focus is guitar, which is my instrument, however the musical concepts are the same. It's a pleasure watching your lessons.
Nice playing and presentation style. You're way overcomplicating this business.... I started studying Bud in the seventies. Bud's thinking Bb Major scale, with G mi as the relative minor of Bb. That's why he's playing the Gmi right hand figure over the D7, the D7 anticipates G mi, even if he plays a G7 chord (anticipating C7, he probably uses them, Gm, G7, interchangably), and so forth. You seemed to have gotten the idea of ONE MAIN SCALE - YES, you ARE correct on that idea: scale dictating chords, vs, chord dictating the scale...but why did you not see that as Bb? - the song is in the key of Bb, and you identify II7-V7-I from D, (D7-G7-C7) but that is a more continuous III7-VI7-II7-V7 and back to ONE, or, IOW: D7, G7, C7, F7 all leading, eventually to Bb or ONE)
It is common for Be Bop guys like Bud Powell to play Ami7-5 to D7-9 to the G7 chord. He is thinking about a minor ii-v to G7. I learned this when I studied with Barry Harris who really knew a lot about Bud Powell and Monk.
This is an unrated video. Great job 👍🏼
Owen Chimuka
Very clever of you to have figured out what Mr. Powell was up to here - this is no small feat!. Thanks for putting in the time and effort you have to make and present this video!
Pleasure Derek. Thanks!
Very insightful! Makes me so hopeful to see people digging for what’s real in this music. thank you
great!!! Brother you taught me so much in 10 mins. Thanks from America. Can you break down some other solos?
This is awesome - very brilliant and great explanation
Nice work. Keep it up!
Thank you for letting us in!
In walked Bud.... Keep that flame alive 🔥 good sir.
Thanks Owen, for the breakdown. Excellent jazz scholarship
Very nice. I think this is also the same concept Carol Kaye uses.
Love that solo.
Excellent
Very nice. Thanks I like your video. Please continue to post more videos. It's better to learn form you than some other channels that don't show practical examples like you do. Keep it up and you will see your channel explode with subscribers.
Thank you very much Amina Salihu for the encouraging comment! I'm definitely going to continue creating more content.
Could be also explained with the relative dominants theory of the late Barry Harris (D7 - F7 - Ab7 B7 are all related and interchangeable)
Very cool video! Love your figurines on top of your speakers hehehe. Great teaching!
Thanks Frantzes. Got the figurines from 2 of my Zimbabwean students-made from beads, marbles and wire 😂. Glad you like the video
This was great, Thank you. I love Bud Powell, and I have noticed alot of interesting note choices in some transcriptions that I've done in the past. The way you are thinking of it makes alot of sense as to how Bud was probably approaching tunes. Fantastic video
Nice analysis. Another way to look at this, is to see it as a Backdoor Progression. This is a very common voicing in jazz. Instead of resolving through a II-V cadence, one can use the alternative IV-VII - in your example, Gm7-C7-D7. This is a really nice resolution. You find it in a tune like Lady Bird, however resolving to a major chord, instead of a dominant chord like here.
6:00 I think it’s simpler, since F7 comes from the Bb major scale, I think he is just thinking Bb major against D7 or even against that 2-5 to D7
7:55 here as well, he thinks directly F major scale
i suspect this is d.t. Bud's strong classical training. maybe he even learned Partimenti tradition...Rule of the Octave...is what it makes me think of
Excellent!
Awesome, I would add that this works because most of the notes of those chords over the 4 notes chord are tensions and fit the harmony, but the way you approach it is much easier to thinlk than having all the tension notes of the chord in mind.
Yet this is someone to have in mind for specific cases, for example if you are playing a dominant to go to a minor chord you should consider the b9 and b13, while if you think only in the scale over the dominant you will miss those cool tension notes.
Great Job
Thank you
Thank you for sharing, With the D7, isn't Bud Powell just approaching it as if the key of the moment is G minor? (until he gets to the G7)
@@curiouscurious6558 I agree, with your assessment, it's "Tonicization"...
You can play any dominant scale related like for D7 you can play F, Ab, B 7. because they are related, or you can run them one into the other, endless possibilities...
Fine job
He used "skeleton" chords in his left hand-enabled him to comp faster-and left more scale types open for each chord. Also-stay off the tonics in the left hand. Play a C7 with only E and Bb in the left hand-in whatever inversion fits your right hand if you are playing with a bass player. You can also use the flatted fifth scale tone scale against whatever your root is. In C, play F# to get a nice outside sound.
He did a lot of 10ths with his left hand as well
Really appreciate this video. Whats the name of this concept? I am trying research it a little further
Gotta go mess with it, thanks!
dear sir, could you please tell us the quality of the chords of the C7 scale? , the ones you played, the ones you said we should arpeggiate. i know its homework one has to do, but it would be a tremendous help to know that for future reference:) thannk you
Hi Lucas. Thanks for your question.
The 1st chord is a dominant 7th,
the 2nd is a minor 7th,
the 3rd is minor 7 flat 5
the 4th is a Major 7th
the 5th is minor 7th
the 6th is a minor 7th
the 7th is a Major 7th
@@owenchimuka8168 so it's the same qualities as the mayor scale starting from the fifth:) thank you sir, i'm ecstatic:) , there is a lot of material to explore , it should have more views:) thanks again for taking the time to explain :) i'm grateful:) Namaskaram:)
@@lucasarias8294 He seems to often if not always approach each scale tone chord from a 1/2 step below.
Hi are you South African? :) great analysis. Just had a thought that the A-7b5 could well come from C-6° scale. They would usually play C-6° over F7 as that scale has a -7b5. Also, if it were a 251 they'd play it like this...
Eb6° over C-7
C-6° over F7
Bb6° over BbMaj7
Also using the dimished voicings inbetween the chord inversions for movement. Or maybe not! Great video either way. 🙌
😉Close... Zimbabwean!
Very clear description of jazz thinking. Thank you. Are you a student of Barry Harris methods?
Thanks David. Although I've never met Barry, I'm a huge fan (& disciple) of his. I've seen all his videos on youtube and they are extremely enlightening. He's definitely the master in my opinion. I actually want to get all his books-I've heard they are available
@@owenchimuka8168 You could check out my teacher's uTubes @ Things I've Learned From Barry Harris. The focus is guitar, which is my instrument, however the musical concepts are the same. It's a pleasure watching your lessons.
Thanks so much@@TheDave292. I'll definitely check your teacher out. Did he actually study with Barry? That must be quite an experience
Yes, Chris studied and traveled with Dr. Harris. We both attended classes at the community center in NYC @1993.
@@TheDave292 Wow, that must have been an awesome experience. If I met Barry, I'd probably just freeze 😂
Nice playing and presentation style.
You're way overcomplicating this business....
I started studying Bud in the seventies.
Bud's thinking Bb Major scale, with G mi as the relative minor of Bb. That's why he's playing the Gmi right hand figure over the D7, the D7 anticipates G mi, even if he plays a G7 chord (anticipating C7, he probably uses them, Gm, G7, interchangably), and so forth.
You seemed to have gotten the idea of ONE MAIN SCALE - YES, you ARE correct on that idea: scale dictating chords, vs, chord dictating the scale...but why did you not see that as Bb? - the song is in the key of Bb, and you identify II7-V7-I from D, (D7-G7-C7) but that is a more continuous III7-VI7-II7-V7 and back to ONE, or, IOW: D7, G7, C7, F7 all leading, eventually to Bb or ONE)
Yawn....zzzzzzzz