I just saw your clip and watched 3 of your clips.I gained knowledge from the analysis and will gradually watch the clips that I haven't watched yet.I would like to call you teacher 😊.Thank you.
Im curios isn’t the proper way to right the flat 6 in Eb, Cb and also you say it implies the Lydian sound over the flat 6 but when I look at a Ab melodic minor scale the 3rd mode the one that starts in Cb, that is a Cb Lydian augmented scale so I just want to know am I not seeing something or you meant Lydian augmented and not just Lydian
Everything you said was correct. Staying true to Db Lydian dominant (Ab melo minor), the Cb scale should be Lydian Augmented. But try both, i think you’ll see they both fly, just like you don’t HAVE to play the #11 (G) in the bVII7 (Db7). We just know that this exotic color fits perfectly there. As a B Lydian plain, I’m really just thinking an E# with a BMaj7 harmony, and i think sounds pretty good,
Man this was cool, but I couldn't get that to work for me, I tried alternating C whole tone and B whole tone for the 4 chords in the bridge, works pretty well I think
@@Jazzguitarguy aim the F#ø | F7 | E7 | A7 like a 3625 chain going to Dm. The scales I mentioned can work being ‘aimed’ towards multiple targets. So having that ‘target’ in mind affects the way we move through them. In this case, I aim towards Dm like the functional theory suggests this chain of chords is working but then land on D or F for a Cm9 or Cm11. Definitely a unique moment. Like you, im just a student, I don’t presume to be a final authority.
@ant_adlibs totally, I didn't mean to sound like I was dismissing your breakdown, I thought it was great! And it definitely works, my problem was that when I think Dm I end up playing the 9th (which of course would be the maj3rd of C minor).
@@Jazzguitarguy no sweat, I didn’t take it any bad way. and yea I like to go the 9th on minor too. But without a doubt, those chords are an extended cadence to Dm, what a trip by Wayne Shorter tbh
Yes, the C7 to Am was like a C7 to F, where the F is reharmonization by its Mediant (Am). With the Bb7 the composer is just emphasizing the A-7 more intently with a tritone sub of Am’s authentic V7 (E7).
I have it as a product for sale. It’s a dense piece, it’s like 10m featuring some thoughts on soloing over it as well as a pdf with an arrangement of the melody, and some solo lines
Hey. It’s just an Ab or Fm7 in the guitar over the Bass moving from Db, to Bb, to Ab. The intro is building a Db major triad harmony in vocal layers over Ab. And it’s all in the bass rhythm from there. There is also a chromatic piano run all the way in the highest register from the highest Ab to an octave down. It happens on the Bb and lands on the Ab. It was a pretty simple one
@@ant_adlibsah okay. I never look at the melody unless it’s changing the scale/mode of the chord. Saying F13 is kind of redundant-I can play or not play the 13 or a chord any time I want. But I know that’s kind of a style preference.
@@greg55666 it’s true you can make a path through the chords with or without the 13, but eventually you’ll want to make those distinctions. With it without 13 should be 2 distinct flavors. I personally always look at the melody and harmony as one picture.
@@ant_adlibs yeah but on the circle of fifths, if you go counter clockwise you get . . . fifths. C-G-D-A->A-D-G-C. I know that fifths and fourths are just inverted, it’s just a funny way of looking at it.
@@ant_adlibs well, the *reason* it’s the circle of fifths not fourths is that the fifth is the most stable interval after octaves. It’s the distance between the second and third harmonics. 3:2. Fourths are 3:4, which also sound good, but the fifth is in some real way just more basic. But yes I’m a chord they’re the “same” -one is just the inverse of the other.
@@greg55666 idk, when you look at a song like All the Things You Are, where the chords move in a very conventional way, counterclockwise on the circle, I see it as fourths, not ‘down in 5ths’.
It's amazing how you explain while the piano in the background is giving examples of what your saying. Trying to relearn this tune but all of those chords always intimidate me until now, thanks!
