My hat is off to you Sir. Great lesson although about a million miles over my head. You have it all happening. Thanks for the generous videos. John Paiva
A really fantastic lesson Mikko. Easy enough to understand but trickier to implement. Looking forward to practising it tonight. Probably my favourite song from Kind of Blue, so sad and really clever arrangement. Keep up the fantastic content, you've taught me lots. Many thanks
To be honoust personally I believe this tactic to be most effective to learn specific alterations, because the modulation of unaltered towards altered...
of course I cant execute exact we anything LOL - the fast 2-5s on that stump me ? this video was great that you did ! this is the stuff I come up with? ruclips.net/video/8iPtSPiEqjQ/видео.html if you checked it out Id be honored !
The moment if we skip the 5th tone of the octatonic, or half hole dim scale, the Diffenrence between Ab7 #11 will give us the same: D GbF seeable as a D=1 F=b3 and Gb=b4 if we look at the following the Cm7N5 shell voicing: Bb-E-bC, will octatonic language be: ABC, and resembles the rate of screaming dissonance, really capable to awaken the "slumber" of auditions, that heard too much the same...if you understand that we have the other three Triads + scales, if the pedal tone is changed we have 8 voicings combine with other four there is already twelve on one chord without so much effort amazing stuff!!! B7 F7 D7 or the others..of course...
Hi! I really appreciate your videos; they are wonderful! I would like to recommend a book for you to review that hasn’t been discussed much. I found it fantastic, especially since we often hear about its concepts in jazz contexts. The book is titled: **David Baker: The Lydian Chromatic Concept - A Comprehensive Method for All Musicians.** Would you consider reviewing this one? Many Thanks!
I appreciate your honesty and you are free to disliking my playing as much as you like. I however don't believe in rules in Jazz. That's what I call the "Jazz police" 😃
For someone who just started playing jazz coming from metal it is quite hard to learn this stuff but your explanations are great
My hat is off to you Sir. Great lesson although about a million miles over my head.
You have it all happening. Thanks for the generous videos.
John Paiva
A really fantastic lesson Mikko. Easy enough to understand but trickier to implement. Looking forward to practising it tonight. Probably my favourite song from Kind of Blue, so sad and really clever arrangement. Keep up the fantastic content, you've taught me lots. Many thanks
Thank you
This is so beautiful. I also like your tie.
Thanks 👔
Merci beaucoup Mikko, c'est une très belle leçon, très intéressante ! J'adore !!! Votre chaîne est super !
Merci 👍
Thank you Mikko! You have a great youtube chanel about jazz! Keep going and best wishes in new 2019 year! 👍🎄
Thank you!
Great lesson!! Thank you!
Glad you like it 😀
nice playing.
Also, it is said that Bill Evans wrote this tune, interesting how much also the maj7#11 resemble specific LHand voicings of Piano players! remarkable!
To be honoust personally I believe this tactic to be most effective to learn specific alterations, because the modulation of unaltered towards altered...
anyway you coud do a video on soloing on the 4 on 6 progression No matter what I do I cant do it unless I play Wes exact lines
Haha that's how you do it!! 😁🤓 Hmm I'll think about that one 😎
of course I cant execute exact we anything LOL - the fast 2-5s on that stump me ? this video was great that you did ! this is the stuff I come up with? ruclips.net/video/8iPtSPiEqjQ/видео.html if you checked it out Id be honored !
Super!!!
Where can I find this chords in tablature?
awesome don't see any PDF though?
It's on page 51 of The Real Book (6th edition)...or in many other fake books.
Real book? What is it?
Any pdf of this?
It's two years since I made it 😀 but I'm pretty sure I made Pdf for this lesson. There is a link in the description to my Patreon page 😎👍
The moment if we skip the 5th tone of the octatonic, or half hole dim scale, the Diffenrence between Ab7 #11 will give us the same: D GbF seeable as a D=1 F=b3 and Gb=b4 if we look at the following the Cm7N5 shell voicing: Bb-E-bC, will octatonic language be: ABC, and resembles the rate of screaming dissonance, really capable to awaken the "slumber" of auditions, that heard too much the same...if you understand that we have the other three Triads + scales, if the pedal tone is changed we have 8 voicings combine with other four there is already twelve on one chord without so much effort amazing stuff!!! B7 F7 D7 or the others..of course...
Did you use one melodic minor scale for each chord??
Yes 🙂
Hi! I really appreciate your videos; they are wonderful! I would like to recommend a book for you to review that hasn’t been discussed much. I found it fantastic, especially since we often hear about its concepts in jazz contexts. The book is titled:
**David Baker: The Lydian Chromatic Concept - A Comprehensive Method for All Musicians.**
Would you consider reviewing this one?
Many Thanks!
No this one I was not familiar with. Russel's book I am of course but both these books seems hard find
bro, all good except the tie. please burn it... love all the rest.
@@DaddySantaClaus why do some people feel the need to make comments like this? 🙄
@@Mikkokosmos do you like the tie?? it is appalling man. nevertheless, do you actally take the internet seriously???
playing it as a bossa-nova seems blasphemous. i don't like it
I appreciate your honesty and you are free to disliking my playing as much as you like. I however don't believe in rules in Jazz. That's what I call the "Jazz police" 😃
@@Mikkokosmos I respect that. Thank you. Your playing is wonderful. It's the interpretation of the song I didn't care for. that's all.