That's a good idea... to check out his playing. I had a teacher that used to say: "why do you ask me? Listen to the original recording and figure it out yourself"
Such lush chords, so many great colors. This is hugely helpful lesson, thanks Mikko! How’s the D’Angelico? It sounds great! What are you playing through and do I detect a hint of delay?
A great tune to work on. Thanks for going over this. It seems to be a song that can be approached in many different ways. I'm still working on it decades after first hearing and attempting to play it. Thank you so much for your insights and viewpoints. I'm back to working on this great tune once again. :0)
Hi Mikko, merely to proove you how serious I take your extended arpeggio;s I think you forgot the Bb713b9 you wrote in the upper octave a Bb, of course you meant a c..Very impressive video, the way you play your musicality the way you show that everything is in the modes, and how you prove it Great again..
Is my real book wrong, or can I just not transpose? His chords in the last 2 bars of A section are: B7b11 - A7b11- Abmaj7 while mine are: Gbmaj7/C- Emaj7/C -Fmaj7/C so transposed this would be Amaj7/Eb - Gmaj7/Eb - Abmaj7/Eb Or am i doing something wrong?
yes don't I explain that in the video? I hope I did. Amaj7b5/B is the same thing as B7#11. I dont know what b11 is? Should be #11. If your Real Book says b11 it's wrong. And then you add the bass pedal Eb to the mix. That's why it's confusing.
Hey man thanks for this lesson. I'm a bassist, but I generally get all my harmonic information and ideas from guitarists and sax players. So I have a question. With regard to the extended arpeggios, I'm looking at the 2nd measure of the "B" section that has the Bb Half Whole diminished arpeggio. You have an E natural written into the sheet music, which would give you a #11. The melody of the tune has an "Eb" in that measure, which is a natural 11. Why would you use the E natural, instead of the Eb? Personally I like the idea of the Eb better (for now) since it just creates a Cb Aug triad stacked on top of a Bb7. It lays better under my hand rather than playing that 4th interval of Cb(B) to E. Let me know what you think.
Good question. I guess when I hear the 13(b9) sound I automatically hear symmetrical diminished. That Eb is not a resting note there just in passing. But yes you could play a mixo b9 scale I guess? Not very often talked about I guess it's a mode of the harmonic major scale. Eb harmonic major. The Eb tends to be considered an avoid note on dominant chords because it clashes with the third.
@@Mikkokosmos thank you for that information. There's still a lot I have to figure out and I wasn't really aware of symmetrical diminished scales. Also I thought the fourth was an avoid note only on major 7th chords but not the dominants But that makes sense, because it's still a major third. I will investigate this further. Maybe I'll make a point not to hang on the Eb lol.Thanks so much for your time!
In my Real Book, the last chord of B part is indicated as an Gb7 (9/13) and I try to play the Db dorian scale over it, but... doesn't sound very well to me. However, you play an Emaj7. Could you please explain enithing about this. Thanks.
Same thing as with the earlier chords. If you play an Emaj7b5 on the piano with your left hand and put an F# in the bass you get an F#13 chord. Not sure where you get the dorian scale from? 🤔
@@monconillsegon yes but an #11 chord can contain the regular fifth as well. In this case I think it's better to think of the voicing as a Maj7b5 since we don't want the regular fifth 🤠
so I mean then this 16th'shape 7 1 3 5 II 7 9 11 13 II 11 9 7 5 II 3 5 7 9 of course literally the 7th doesn't belong there in the beginning...I've got this from Eef Albers he plays this over Zeg 'ns Aaa ending of the program(dutch Broadcast comedy)
