Another great lesson and I really like that you play through real examples from great players and compare them. If I were to guess, I'd say that the reason why a lot of players disregard the flat 6 and essentially play a Dorian sound is just that this sound is what they hear over an extended minor chord, and that they're essentially playing the first four bars in the same way that they'd play over So What / Impressions. It would be interesting to compare earlier (pre Milestones/Kind of Blue) recordings to see if there's a difference here....
Thank you! I've been playing jazz for 3 years now and I've heard about the minor blues, also played it, but thisnis the first lesson per se about it that I hear.
Thanks for helping me hone my bass chops with the double bass. It's been a great journey so far, and my confidence grows with it every time I spend a few minutes on your channel. Keep up the great work my friend!
I've been enjoying learning the bass for over 30 years and this video has helped me learn a lot more about it. It's a lot to take in and digest, but it's already helped me get a better minor walking understanding. Subscribed.
Another precious video, thank you Matt!! About disregarding the flat 6th, it can be that in a minor tonality we can easely switch from natural minor to melodic or harmonic minor without losing the feel, so from the 5th to the octave you have actually the notes available. Minor tonalities are amazing!
Great lesson it's a lot to take in. I'd definitely pay for a lesson like that. I got to reinforce my reading. Recently I've gotten back into music. It's a big part of my mental health. Thanks and cheers from Oregon! Cheers with coffee, enjoy! See you next time.
I don't know for sure why the bVI7 happens, but I have a theory coming from the perspective of a blues musician more so than a jazz musician. In some minor blues, that chord is played as bVImaj7, which, of course, is diatonic. I have been involved in jams with a lot of blues players who just instinctively change that chord to a dominant 7 instead of a major 7 just because, well, they are blues players, and EVERYTHING is a dominant 7th.
@LearnJazzBasswithMattRybicki Idk I think a lot of times (not always), music theory should be looked at as descriptive rather than prescriptive. Really, probably what happened with this chord being used so much is that someone did it, and thought it sounded good, and now we just use it because we know it sounds good too. We can then go back and use theory to describe why it works (descriptive) and figure out what we may be able to play over it (prescriptive).
Great lesson i found It very usefull. I would likes to suggest something that works for me and maybe for Someone else: When i Land on the fourht chord i struggle to find some ways tò come back to the One chord in a Natural way cause of weak cadence ( 4-1). So instead i go for the cicle of fifth For instance: /c-/d-7b5 G7/c-/c7/f-/bb7/eb/ab/d-7b5/G7/c-/G7. Notice that i impose a Little 2 5 in the second bar which Paul chambers do as well and a C7 thath lead to f-. Than i would likes to answer about the role of the Major 6 in minor situation: I think that all the chords in minor situation that younfind on i real or real book are wrong. It should be min6 chords and most of all not whit the 7 flat cause It suggest more a relative Major of the chord. Barry Harris show this concept whit his incredibile minor scale which capture the real sound of minor tonality: C d eb f g ab a B c.. This scale Is made by two chords ( cmin6 : c eb g a) and ( d diminished d f ab b) and the inversione of the stucked together cause if you harmonize It you Will find this two chords. It Is great for walking and for soloing as well. This concept can apply tò Major scale as well: it's same scale but whith the third Major of cuourse. I Hope this concept can be usefull to someone 😊
Am not following what you say at 4:50. The transcript: "if you're in the key of C minor where that two chord would happen would be a 2 5 to the flat two so if you're in c minor you would have E flat minor 7 to a flat 7 in one bar then the next bar where the five would be you would have two minor 7 flat five to 57 so it's like moving up a half step and then back down a half step to the two five that's a common thing to ha that happens" What is this "flat two"? That would be D flat, whereas you have Dm7b5.
Yeah it’s confusing - I was saying that the bar of Eb-7 and Ab7 is like a II-V to Dbmaj7 but doesn’t go to that Dbmaj7. The bass movement goes away from the normal ii-V - up a half step and then down. Using a bII major7 is a common “deceptive” resolution instead of going to Imaj7. Does that make more sens?
To add a little more - a simple way to think about flat 2 major….usually standards finish with the tonic. Let’s say the melody ends on “C”. One could use a variety of major chords that contain that “C”. Because the Dbmaj7 contains The C and then all the other notes want to resolve down - F to E, Ab to G, Db to C, it serves as a colorful way to “delay” the final chord / resolution.
