DIG IT! All Blues is here and man is it a Bad Tune. Now this Blues tune kills in so many ways because of its modal structure as well as the ability to easily get inside the changes just a traditional jazz-blues tune. Make sure to check out the video and make a comment on how you play on this classic Miles Davis tune. Peace
I’m gonna go over this lesson 10 more times, because I skipped learning melodic minor early on, great to know how it’s relevant to the altered scale and Dorian, a gem in this video. But having the chords is amazing. And while comping over them, I can a bit recreate Miles’ thinking at least while staying in pentatonic with an eye on the major 3rd as well as using that sharp 7th, blues style, and then switching to Dorian for the c chords, which is great practice. I could be doin it wrong, but I’m finding some of his phrases there already. Great lesson, subscribed.
Just discovered your videos this week and have already learned two tunes (midnight blue and all blues). Mucho dig daddy’o! Very approachable teaching style. Your song selection is right up my alley. I will check out your other channel offerings. Big fan.
Hi mate, thanks for your videos, very helpful information, I have a question though, can i use harmonic minor instead of melodic minor as well? Thanks mate keep up and wish the best from England
Hey Bruce. Nice one. Thanks. On the turnaround I like to hear the A moving up to the Ab on top so instead of the Jimi Hendrix voicing for the dom sharp 9 chords, I use a 4-note voicing for that chord with the third in the bass. Visually it looks like an F ma triad on the three highest stings, with a G# in the bass on the 4th string. Then I slide it up a half step and back down. That sounds pretty good too. What do you think?
Hi James if I am understanding you correct then it sounds you are playing a #11/4 in the bass. Basically an altered V chord. Anything can be fair game when it comes to alt dominant chords. Even a #5, I might not use a b9, but why not? Lol. Btw joe pass and bill evans were big fans of dim #11 tones. Try those on the I and IV chord as well. Lots of players use it on the IV but JP used it all over the place. It’s a cool sound and works really well esp on this tune.
Hi Bruce, thanks this is great. Question: on bars 9 and 10, are you playing 4 notes G/C/F/Bb...then A/D/G/C..? The tab shows three notes, but I hear and see (I think) four notes. Thank you, dn
Two questions, BG, if I may: 1. Is it in 3/4 or 6/8? 2. What would you want the bassist to walk on when you're playing that altered scale leading to the 4 chord? Thank you!
The original was listed as 6/8 and we can surely count it like that. I have heard it played in 3/4 or even 12/8. I mostly think of 3 meter songs in a "group" not so much the individual meters that would exist in pop music. As far as what the bassist plays - what even he is hearing! Some bassists anticipate the 4 chord and some play it straighter - but be that as it may, the soloist would play what he wants and even the chord player as well. It is not important the harmony lines up for every player - in fact it never does. I can't remember a time when we would say - "hey you play this so it sounds better when I am soling lol" IT is all about the colors and the tensions. All of those come up all over the place especially when Trane was with Miles. Check it out!
@@brucegregori OK, thanks, that's severely helpful; I am digging it illuminatedly! The pdf I have of the complete score that's circulating around the net has it as 3/4, but then it's not in 12-bar form. Likewise, over at talkbass.com, where I have been known to visit, I tried making the case for "Question & Answer" (P. Metheny) also being in 6/8, . . . but them's some doctrinaire hombres that hang out there . . .
DIG IT! All Blues is here and man is it a Bad Tune. Now this Blues tune kills in so many ways because of its modal structure as well as the ability to easily get inside the changes just a traditional jazz-blues tune. Make sure to check out the video and make a comment on how you play on this classic Miles Davis tune. Peace
Im on it!
This is top quality content, i wish more people knew about your channel, keep it up man!
Thanks so much brother!
Best All Blues lesson on youtube, period! Huge thanks!!
I love this channel, really instructive and fun !
Thanks my man.
Excellent content! Thank you, from Brooklyn, NY.
I’m gonna go over this lesson 10 more times, because I skipped learning melodic minor early on, great to know how it’s relevant to the altered scale and Dorian, a gem in this video.
But having the chords is amazing. And while comping over them, I can a bit recreate Miles’ thinking at least while staying in pentatonic with an eye on the major 3rd as well as using that sharp 7th, blues style, and then switching to Dorian for the c chords, which is great practice.
I could be doin it wrong, but I’m finding some of his phrases there already.
Great lesson, subscribed.
top quality! thank you man, keep it up!
Thanks very much!
You're awesome.
Super nice guitar
Super lesson. Thank you very much !
Sure thing. Keep swinging!
Hy Bruce , today i discovery your channel and i lov it! cheers!
Thanks my man!
great vids dude!!! dig it!
Thanks man!
i dig it great lesson awesome
Thanks HT!
Just discovered your videos this week and have already learned two tunes (midnight blue and all blues). Mucho dig daddy’o!
Very approachable teaching style. Your song selection is right up my alley. I will check out your other channel offerings. Big fan.
Thank so much my brother - Kenny Burrell is the king of the cool. Check out Chiltlins Con Carne - that is a classic Kenny tune that you will enjoy!
@@brucegregori SRV introduced me to that tune.
@@15320HA That is a great cover - he and Peter Frampton were huge Kenny fans for sure.
Bruce: Thanks for this.
sure thing!
Killer man..
thanks!
Hi mate, thanks for your videos, very helpful information, I have a question though, can i use harmonic minor instead of melodic minor as well?
Thanks mate keep up and wish the best from England
You can! the note different is the E vs Eb (harmonic) but usually it is melodic minor to get that #ii sound
@@brucegregori thanks mate
@@DaddySantaClaus anytime!
Hey Bruce. Nice one. Thanks. On the turnaround I like to hear the A moving up to the Ab on top so instead of the Jimi Hendrix voicing for the dom sharp 9 chords, I use a 4-note voicing for that chord with the third in the bass. Visually it looks like an F ma triad on the three highest stings, with a G# in the bass on the 4th string. Then I slide it up a half step and back down. That sounds pretty good too. What do you think?
Hi James if I am understanding you correct then it sounds you are playing a #11/4 in the bass. Basically an altered V chord. Anything can be fair game when it comes to alt dominant chords. Even a #5, I might not use a b9, but why not? Lol. Btw joe pass and bill evans were big fans of dim #11 tones. Try those on the I and IV chord as well. Lots of players use it on the IV but JP used it all over the place. It’s a cool sound and works really well esp on this tune.
Cool man. Thanks!
Hi Bruce, thanks this is great. Question: on bars 9 and 10, are you playing 4 notes G/C/F/Bb...then A/D/G/C..? The tab shows three notes, but I hear and see (I think) four notes. Thank you, dn
I usually play 4 notes. A quartal chord which Joe Pass and George Benson use to harmonize Melodies.
@@brucegregori got it, thanks!
@@dnhotrod sure thing.
Great video. I cannot locate the link/tab for the Chord Melody.
Check out the web link.
Two questions, BG, if I may: 1. Is it in 3/4 or 6/8? 2. What would you want the bassist to walk on when you're playing that altered scale leading to the 4 chord? Thank you!
The original was listed as 6/8 and we can surely count it like that. I have heard it played in 3/4 or even 12/8. I mostly think of 3 meter songs in a "group" not so much the individual meters that would exist in pop music. As far as what the bassist plays - what even he is hearing! Some bassists anticipate the 4 chord and some play it straighter - but be that as it may, the soloist would play what he wants and even the chord player as well. It is not important the harmony lines up for every player - in fact it never does. I can't remember a time when we would say - "hey you play this so it sounds better when I am soling lol" IT is all about the colors and the tensions. All of those come up all over the place especially when Trane was with Miles. Check it out!
@@brucegregori OK, thanks, that's severely helpful; I am digging it illuminatedly! The pdf I have of the complete score that's circulating around the net has it as 3/4, but then it's not in 12-bar form. Likewise, over at talkbass.com, where I have been known to visit, I tried making the case for "Question & Answer" (P. Metheny) also being in 6/8, . . . but them's some doctrinaire hombres that hang out there . . .
@@bezuglich ha! yes - I mean the true Miles way would have been to play it like you feel it so.....I kind to play it fast and swing it a tad more.
When you start playing altered G#, do you play a C#/(b5) chord to harmonize, instead of just the straight G7?
could you see what i mean?
Does the altered work over the G7 C Dm ? Your I chord harmony
great video bro, friends?
Thanks so much and glad you dig the video!
@@brucegregori subscribe eachother for support!^^
why ygotta play it so fast and so square and clean on that shiny guitr for?
Cmon BE, it is a 3 swing, dig?