Thanks Russ!

Thanks Joe! 💙

Thanks Christophe! left hand right hand all day! 💙

Thanks my friend from the low end 💙

Hey Gregg, sorry about the issue. Quick question... did you already register for the FULL free masterclass course in my official website? Once you register for it, you SHOULD receive an email from me with the PDFs. If you already did all that, and the link in the emails isn't working, maybe try right clicking and opening in a new window? If you registered but didn't see the PDF emails, check you spam folder and/or respond to the welcome email, and I'll manually copy and paste the PDF info into a response email. If you didn't register yet, follow the links in the description to do so. Not only will it give you the PDFs, but there's also some additional video not available on RU-vid found only inside the official, full version. 🙏🏻

Thanks boss! 🙏🏻

Thank you Yariv! Appreciate you listening 🙏🏻

Thank Nick! 🙏🏻 Loved your recent guitar/singer duo vid I saw. You really brought the soulful blues into the music 💙

😂 Like Scofield told me, "I gotta let it shine!" hahaha Thanks boss. Monk gives us the perfect vehicle to balance smooth and angular. Doesn't get more smangular than THE BOSS 😎

Thank you! 🙏🏻 It's such a great tune. I absolutely LOVE that he had the courage to make the main theme just a series of descending major triads. Nobody had a music backbone like Monk. Who else would write something so "simple" and yet play it with the integrity, authority, and grace that brings the sound to life like him?

Thank you 💙

THank you my friend 🙏🏻💙 Hope to see/hear you soon!

Thx man! I struggled with it for a couple decades before Pete and Stefon helped me simplify things down. Wish I could go back in time and start over 🤷🏻‍♂️ knowing what I know now... I guess that's just part of the process. Gotta love Monk. The older I get, the more I admire him and love his tunes. Going to be doing a Monk series in my Tune Studies Library for my students (and for myself). SO MUCH to learn from him! 💙

Yeah... sorry... I should have put the link in the description. I must have blanked on that. I just looked it up and found it for you. Just YT search for "jazz house kids pat metheny masterclass 2008" 🤘🏻

Awesome... stoked you dig it LUW! I think I have a few pianistic harmony videos on here... specifically about liquid harmony. You're also welcome to come and hang in my free fb group if you're on there. I do live vid pretty regularly. Look us up under "Melodic Triads" or just shoot me a friend request, and I'll send you the direct link 🙏🏻

@@jordanklemonsjazzguitar Awesome, sent a request to your group! So cool to find more advanced stuff like yours! As I’m sure you know, most stuff online is much more beginner/intermediate focused.

killer!

Correct... and then it repeats for the 2nd four bars giving you the full A section. Usually moving the IV to the iv during the 2nd half of the A section (measure 6)... this can also be done in measure 2 for a little extra motion. The loop I'm playing over is the full 8 bar A section

A-F#7-Bmin7-E7 = A-D-A-E ?

​@@jordanklemonsjazzguitar A-F#7-Bmin7-E7 = A-D-A-E ?

That would cover the A - D triads. Then the next I VI ii V (or iii biiiº ii V... etc) would be the A - E. Two CHORDS per measure. But only one melodic triad per measure. That's one of the things that makes this approach so much easier as there's half as many "changes" to think about and make.

Stoked you're digging the full method laid out in the courses! You def CAN think of it as all I and V... but the I IV and V is closer to the way I hear Bird and Monk composing and playing over it. So that's my personal go-to... with a few additional triads I sometimes throw in that I stole straight out of Bird's ear.

💙 Thanks!

Thanks Joe... not on here often enough. Gotta start posting more. Great crossing paths!

This guy knows! 👆🏻 Thanks my friend holdin down the low end 💙

Bruuuuh... Love that you're keeping so busy you can't watch a 4.5 minute vid haha 🤘🏻 Also love the compliment. It's fun, right?!?

You're welcome... glad you dig it 🙏🏻

Thanks 💙 glad you dig it and see the overlaps with BH. They're DEF there! A few benefits for the guitar I find this relies on more because it's fretboard friendly. But also... how whacky is it that our tension triad (which happens to be diminished for this harmony, but won't always be) IS the min6 of the chord. E-6... the C# diminished triad is the R-3-6 "shell voicing" of the basic E-6... yet it behaves like the tension wants to resolve back into the upper extensions. Pretty cool 😎

Agree. Loving and enjoying the music itself is the alpha and the omega. Being self-taught growing up, that was the ONLY learning tool I relied on. And most music students I work with began there... oftentimes stalling out and plateauing after a few decades because they've run out of steam and aren't sure where to head. Bringing in the more "adult" mindset of goals, future planning, and self-examining is a really nice yin-yang to the (usually more natural and innate) childlike playfulness. I always encourage my student to strike a balance between both the "play mindset" which is very childlike and is happy to just enjoy the instrument and the music without worrying about "accomplishing" anything AND their "practice mindset" which is about goals, fundamentals, projects, and growing our musicianship deeper. Most students I work with THINK they're practicing when really they're just playing. So helping them see the difference and waking up the real practice mindset can create explosive growth... especially when balanced with still making time for play mindset. Realizing the difference between the two created some of the most massive growth in musicianship I've ever experienced... and I've watched tons of other musicians I work with experience the same results by deepening their relationship with their own practice and play mindsets. Both are great and critical.

💙 in 💙

It's available inside the official masterclass on my website. You can find the link to register in the description.

Yep! It doesn't always work out that logically. But that's one of the ways it can be understood and used in this case... let's us do that but still while suggesting the alt7 sound. Later on in the course when we apply that note into our cluster voicings chord scale... one of my favorite sounds ever 😎

@@jordanklemonsjazzguitar I appreciate how your approach has wider application.. For any V7alt find the the pentatonic scale whose 3rd is the root of the V7alt. So for C7alt Ab, pentatonic. Add two tension notes, the b6 , E, the 3rd of C7alt and b3rd(+2), B, the major 7th relative to C. So Ab Bb B C Eb E. For a more parochial application, If you restore the 6th to F you have the pentatonic scale plus the blue note of the chord a minor 3rd down which can be played over F blues a la Milt Jackson and a million others. Thanks again for the lesson.

You got it. And here's something trippy where it's not the actual blue note based on the resolution chord... your Ab pentatonic with the b6... that would be the pentatonic scale for an EMaj7#5. Now the E natural (chord's root note) will feel like a tension note wanting to resolve down to the major 7... and the #2 of Ab (B natural) is STILL the blue note. Meaning the natural 5th of the AUGMENTED Maj7 is the hidden blue note 😎 Sounds cool, right?!

@@jordanklemonsjazzguitar Right. Sounds cool. By the way, deriving the C7alt plus hidden blue note from E Maj7#5 lands you in George Russell territory. His formula for a scale that fits V7alt is the Lydian augmented scale whose root is the 3rd of the target V7alt, which is equivalent to the minor melodic a minor third down. That is, E Lydian augmented = Db minor melodic.

Except our E note is going to behave as a melodic tension note that wants to resolve down into the major 7th and we have our blue note hiding inside the natural 5th of a #11/#5 chord. But yes... as far as basic chord scale theory 101... this does overlap with Db melodic minor. Just with function (melodic tension vs resolution and the blues) built into our notes

Heritage Academy Custom. Great little semi hollow

Thanks for the feedback!! 🙏🏻 I tend to be a very slow-paced and verbose teacher. The official videos I make for my students and my courses are much longer and VERY detail oriented. When I started posting that format of video here I got quite a number of requests to waste less time and get to the point faster. Maybe I let the pendulum swing too far the other way lol I appreciate you letting me know. I'll keep working on finding the right balance of short and sweet vs smooth and easy to digest. Glad you dig the content!

Sorry to hear you had a hard time with the city back in the day. It was an amazing place to be when I first moved back. It hasn't been quite the same the last few years... but still amazing in a lot of ways. Bit of a love/hate relationship. Hope you were able to still pursue your jazz guitar goals! If there's anything I can do to help don't hesitate to reach out. Glad you dug the video! I appreciate the kind words!

“I suck at the guitar cuz of the Democrats” is a new one on me. Amazing!

Thanks for the feedback. I'll try and focus on getting things smoother in the future. Glad you dig the idea though!

My man! Thank you... Great to see you on here!

Thanks! Glad you dig it 🤘🏻

LC! Awesome running into you here! Glad you dig it, thanks!

Gotta get through that intro preview clip fast to get to the lesson and keep things movin! 🤘🏻

Thanks red! Funny, I just checked and the download link worked fine for me. Haven't heard otherwise from anyone else. Are you trying on a mobile? Or computer? Maybe try it on a computer if you're on mobile. Or if you're already on your computer, try right clicking the download button and see if that helps.

Solved it! Thanks:)

@@redpeppertunaattradersday1967 Awesome! Glad you got it working. Hope the notation helps get the ideas into your fingers!

You can think of it that way. Especially if it's helpful. These voicings actually work for basically all of the related modes from this melodic minor scale. But I'd definitely encourage you to view it from the triad standpoint. This is vid 3 of a whole free course I just put out laying out how piano players use triads and how we can steal their concepts. It can take a minute to rework things from their perspective on the guitar... but it's worth it! It simplifies so much. And opens up so many options for ridiculous complex sounds while staying in the simpler "triad" mindset. But yes... the relationship you're spotting is correct.

@@jordanklemonsjazzguitar Thanks for your reply Jordan, I’ll look at it from the triad standpoint, I understand the nuance- really appreciate your work by the way.

@@adamantoszewski3498 Awesome! And you're welcome! The triad pair counterpoint, the cluster voicings, and the 9-note bebop scale patterns are my current favorite ideas that grow from the C triad. Crazy beautiful stuff! Enjoy!