Great video as always. However, I miss the music theory lessons. I would love to see one on Sonny Stitt. I think his solo on I'll Remember April with Oscar Peterson is astounding. Sorry for my bad English, I'm from Serbia, so your channel is really international! Hope to hear from you soon.
This is a very interesting analysis indeed, even though there's something I do not entirely agree with. In the second line, bar 2, you describe the first 4 notes as a Ebdim7 chord resolving in E-. Instead I would call it a rootless B7b9 chord and, I tend to think, this is one of the most interesting innovations of Bird: playing a diminished chord over a dominant one (actually he used to play diminished chords over minor chords too). As you know there are only 3 diminished chords and this is the reason why Arnold Schoenberg used to call it a "vagrant chord", together with the augmented triad (see chapter 14 -- At the frontiers of tonality -- of the Harmonielehre, p. 238 ff. of the English translation, available on archive.org). Maybe this is what Parker was referring to when saying that "the music eventually may be atonal". Take for instance Billie's Bounce, 3rd riff, bar 8 and 10, which, in my opinion, is an outstanding example of Bird's style. In the 4th video of this series you seem to be well aware of Schonberg's teaching : the dissolution of tonality, in his theory, seems related to the series of harmonics a single sound is producing. And you are using this approach do derive the augmented 5th in a Bebop scale. This leads me to another point I'm a bit puzzled with, which is the nature of the augmented 5th, which I tend to prefer to refer to as a minor 6th. This may be related to the fact that in jazz music minor/major tonality distinction tend to disappear, like playing a major 3rd over a minor chord (see this interesting analysis about Michael Brecker using this approach: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5trtn84HN_g.html). Hope I was able to clearly express my thought. And thanks for your insights. Best, andrea
Your insight into the history is amazing, and I'm very much here for that. But taking 15 minutes to analyse 8 bars of notation of a solo at 300bpm (what's that, 5 and a half seconds of music?) note for note was a bit excruciating, and could have been handled better. Id just say something like Up D major (I), turn - up B7b9 (V of) - chromatic then down Em - up to A7b9 (II V), back down - D (I) Barry Harris bebop rules for eighths - back up and enclosure on B7b9 (V of) - enclosure and up Em9 (II) - pentatonic like on A13 (V)
Where do those terms (M2 etc.) come from? Should you know them for analyzing pieces? Also, I think the notes at 12:29 are just a Bb superlocrian chord going to to the A on the strong beat, being rhythmically displaced in such a way that it fits over the D chord. Why would that one note be an E# rather than an F natural? It's approached from above by F# and then has E below so to me personally F natural makes more sense.
@@andro866 I know it by now. They're from a highly qualified dissertation on Charlie Parker by a guy from California from way back in the 70s. Can't recall his name right now but you can find the dissertation online for free. Bebop review is a great learning resource, glad you also found this channel :-)
We call it minor 7 flat 5 too. But we also know that minor 7 flat 5 and half diminished 7 are the same thing. Both choices of words work if it is agreed upon. One isn't more descriptive than the other. Because fully diminished 7 isn't the same as half diminished 7. That makes those two terms describing them as variations of diminished.
I don't think you are right on this (although you could be). My research has shown that the term Half diminished is actually related to a mode not a chord, and that mode is related to the melodic minor scale. So for instance Am7b5 would be represented by the mode Locrian #2 so A B C D Eb F G from C melodic minor (chord VI). This mode is also called half diminished. For some reason the name of the mode ended up representing the chord but to be completely accurate it would only truly be representing the chord in a melodic minor key. I got this information from a PHD on transformation theory from Indiana University. Now this explanation of the term half diminished actually makes sense to me.
@@bebopreview3187 I never heard of the modal relation, but it certainly could be. I just always thought in terms of a diminished triad being two stacked minor thirds, so a diminished 7 chord is 3 stacked minor thirds. If the interval form the 5th to the 7th is a major third, it's called minor 7 flat 5 or partially/half diminished 7.
I recall Lester Young saying in an interview that he liked Carmen Lombardo’s sax playing. Carmen was Guy Lombardo’s brother. Rudy Vallee was such a fan of Rudy Weidoeft that he changed his first name to Rudy.
I enjoy your videos very much. However, I don't think an analysis ought to require identifying every single "tetrachord" (up or down 4 scale tones). It's more relevant to highlight the inherent rhythmic punctuations of his shifts in melodic direction. Scales and arpeggios are a given (and useful to point out when there is a substitution). His first bar is essentially the "ornithology" melody, accenting beats: 1, 3, 4 and
