que pena não ter legendas ou dublagem para o Português. Obrigado por tocar nosso amado Tom Jobim! os estrangeiros gostam mais dele hoje do que os próprios brasileiros! Thank u so much . awesome musician.
Over the G7(b5), I think the whole tone scale works well too (although it should be used more carefully than the mixolydian #11 to avoid sounding corny)
There are tons of instances in Jobim’s manuscripts where he wrote ii V’s as ii7 ii6, so I think you’re exactly right about the Eb-6-a tritone sub into G7.
Great job! I believe you may think of the keys F, A, C as outling the F major chord. Certainly tonicizing III Major is common in the Romantic period and in Pop. You then hit it right with the Gminor returning to F!!
Thank you for the great tutorial! I think Ebm6 can rather be interpreted as Daug♭9. The Ebm6 in the context sounds as a dominant function in relation to the following G7 chord, and D in the bass sounds more in line with the melody than Ab (if Ebm6 were to be interpreted as Ab9).
Yes , agreed 100%. D7 is a tritone from Ab7 and D7 would be the right chord and Ab7 would be the tritone sub. I'd prefer either D7 alt. or more specifically D7 (b9,b13) or just plain D+7 is often interpreted the same way. Your way of writing the chord is technically correct but uncommon. Thanks for contributing.
Great tutorial as always Tony! I think Barry Harris would say that the Eb-6 is the important minor related to Ab7 and yes it goes to G7 as you said, it could function chromatically as a tritone substitution of D7... or maybe as a bVI degree of the C harmonic minor, what do you think?
Thank you so much for this. I'm going to be working on this one with somebody, like, today, and there's so much weirdness in the world of cheap charts and lead sheets, it's caveat emptor. Like, when is A major not A major? Whan the chart says the tune is still in F, and the changes aren't clearly written. Bah. Thanks for clearing up the confusion.
Hi Tony - great analysis, the tricky bit is the last four bars of the bridge which anticipate the Fmaj on the C section. The chords on your sheet look wrong as I think you discovered. try Gmin7 D7b9 Gmin7 C7 - last two bars holding the root and 5th tones which then leads to Fmaj in C section.
Thanks for posting this one! I was in need of another Latin tune for an upcoming gig and just typed in "Tony Winston Latin" in the search box and this one came up right on top. I'd not paid any attention to this one earlier either. I think it might just work. BTW, I like your improv! I would actually like to know how someone could start from scratch at learning the scales like you seem to have such a good mastery of. I've never played scales, only music from off the pages. My piano teacher didn't really want me to bother. But now, 40 years later, I feel like I've missed a part of my foundation and these things escape my understanding and skill set. Any thoughts on how to get up to speed, in bite sized increments, I'd be very interested!
I think the first part of the Amaj section is often played wrong.. (when the lyric “que isto bossa nova, que isto muito natural”) the chord used in this part is Amaj-Ab7b13-G7add13-Gb7 originally. The melody is different too. This part is often ‘simplified’ and taken to be the same as the second part which the chord is Amaj-Bbdim-Bm. Maybe you want to re-listen the recording either by Jobim or João Gilberto to clarify this and correct me if I’m wrong here. Great tutorial video and playing, though!
Hi Tony, Lot's of people tell me I have to hit a chord tones on a down beats when Improvising, I notice that you don't seem to. and when I look at other solos they don't seem to either. how important is that please? thanks Simon.
@@simonanthonymcglynn3918 hey Simon, it's not important at all! Just play a good melody that fits the chord progression. I am shooting a video this morning on Rhythm and I will speak to this
HeyTony. Love your teaching. I am a guitarist recently decided to take up piano (beginner/intermed). What app do you recommend for charts? Again, love your teaching and passion.
Well, I like the real books for a lot of songs but its always good to listen to a version you like and study that. Some tunes you just can't write a decent lead sheet , you have to hear it.
