great illustration of the concept. I'll add, from a guitarist's perspective, that we look at the same phenomenon as a very handy tool because very easy to visualize on the fretboard. Take the riff that you play over IIm7b5, move it up a minor third for the V7, and a third up from there for the Im chord. Exact same fingering each time!
This because of each chord scales "Loc2(m7-5) ,Altrd(7+9+5) and minor tonic" consists of melodic minor scale but different from chord's root. When the chord goes ii-V-i, mel.minor root moves up a m3 and m3. ex) "Bm7-5 - E7 - Am" goes "D mel.minor(B loc2) - F mel.minor(E alt) - A mel.minor".
Hey Nick, chapeau for sharing your precious knowledge.... I really appreciate and love your vids... please keep going...think positive and stay negative.. kind regards
Excellent Nick. Thank you for presenting this analysis for minor 251. Beautiful melodies which I am going to work on internalizing in all 12 keys on my tenor sax. As always you have a beautiful tone. May I ask what microphone and preamp do you use when recording? Thank you for your mentoring brother. You have been a great resource for me. As you well know it takes time practicing the right material to get the sound and develop the Improvisational freedom you work so hard for. Thank you.
Thanks Nick. Can't beat the U87. I also use Focusrite, but with a Royer R10 Ribbon Mike. I soon will be adding a WA273 preamp to my studio rack to add more warmth. Thanks
o_0 !!! Wow! That was like making a witch's brew of half of the jars in the spice shelf and half of the bottles in the bar cabinet! :D But it's beautiful ... although I need some time to digest it. However I'll be back for seconds ... when I've landed after the trip haha!
The first time I heard this concept many years ago, was in a recording by Charlie Parker in Sweden. Knocked me off my chair! ( Honeysuckle Rose quote I believe).
Hey Nick! This sounds lovely, but I'm a bit confused around 4m30s into the video. How do you figure out which chords will go with the melody? Is that just a matter of looking at possible combinations, or is there some process I'm missing? Thanks for the lesson!
Approaches can differ, but a good place to start is to listen where the stresses on the melody are. For example, Recordame's lick stresses the beats. So the notes to play with are the E and the A mostly. Those two notes really should be in the chord since we tend to linger slightly longer on them. The other notes can then fill up parts of the chord or the scale the chord implies, like where if use a G9 over the lick it implies G A B D E and F. So the chord could even be played with a #11 and still work since no notes clash If you get farther out, you can treat the non stressed notes as passing tones and fit any chord using an E and A, although it's gonna sound pretty... Unique... My guess on how this man has approached it is to plug in chords and see what the melody is in relation to the chords and make the chord work to encompass the pitches
Great stuff as always Nick. As with your material on the Cry Me a River lick, you refrain from connecting the dots to the melodic minor modal derivation(s) that are consistent across all these melody phrases. It seems like you (don't) do this by choice, and I'm curious as to why. As a guitar player, I find that all this stuff falls right into scale fingerings up and down the neck. It's where my fingers know the notes live. So now I'm curious as to how much of that is guitar-specific; to what extent similar things apply on other instruments; and whether it's all connected to why you *don't* connect this material to scales.
This was very insightful. You should look in to "Cityscape" by Michael Brecker and Claus Ogerman. Both the song and the album are rich with interesting nuggets to explore and I would love to see what you would come up with.
Nossa eu amo sua explicação, se o dólar não fosse tão caro em relação a moeda do Brasil eu conseguiria comprar as lições, então eu só posso focar olhando. Triste!
I see, thank you! love your videos. I am learning jazz harmony on violin and it is very hard to hear things to know if i am in tune. a drone helps but this type of sustained chord would be much better than a drone for me.
