How To Properly Transcribe Jazz Solos To Help Jazz Improvisation 

Hi there are older videos on my channel with stuff that you asked about. I am Canadian but am frequently in Asia, Europe and North America :-)

@@DenisChangMusic right on, will do some more browsing of your content, cheers. I’m from Montreal (originally) btw ;)

Hi! The Ddim (or whatever you want to call it) is not related to A7 at all, it is what we call common tone diminished. It is an alternative to an A7 to create some kind of movement in the harmonies. I talk a lot about this in my Soundslice harmony course btw ;-) I explain in great detail the idea of turnarounds and also the concept of Harmonic Direction. It’s basically the idea that it is less about the individual chord symbols but about where and how the harmonies are moving in its most basic form. When you understand this concept, it becomes possible (with intelligence of course) to completely ignore certain chords and replace them with others that may even sometimes clash with the original chord (hence why it has to be done intelligently). I hope that kind of answers the question

Bar 5-6 is playing Gm over A7. Same principle of harmonic direction. This is a very old sound that people like Louis Armstrong, Django Reinhardt, Lester Young, Charlie Christian and many others used. The Gm isn’t too far removed from A7 in this case. The main difference is that instead of C# on A7 you have a D natural on the Gm chord. Otherwise they share the same chord tones. That’s one of the reasons why it works pretty well.

Sounds like the chord progression of Coquette, but who knows since there are so many songs using that progression. The melody is not the one of Coquette though, maybe just an improvisation.

It is indeed Coquette.