What's the deal with minor 2-5-1s? I mean, could they be any worse? I'm still stuffed from that huge bag of major 2-5-1s! Open Studio: the #1 online jazz community openstudiojazz.com
This is GOLD!!!! It is 4 years old as I write this and STILL as fresh and important musically as the day it was made. Gonna spend a lot of time studying this.
Y'all are a breath of fresh air. SO digging these videos. I had a crappy creepy music teacher experience and so have a hard time sitting next to a piano teacher...have been trying to teach myself ever since, asking questions after people's gigs...anyway you two are a great teaching team and both have a fun and articulate way of explaining stuff. Between you two and Rick Beato, I will never run out of entrancing and intriguing concepts to mess around with. I wish you both all the very best. Know that you are doing good in this messed up world! Hurray!
Thank you so much. i have been watching your videos for a long time. The content in this video is priceless. you should invite some Jazz pianists to the show. i would like to see Christian Sands explain some of his solos.
Old greats like Monk, Bud Powell, Barry Harris and my old teacher Sanford Gold never used the term "minor 7 b5" and thought of it as a minor 6 chord with the 6th in the bass. Harris even mentions this in his You Tube videos.
@@clintjones9848 Soundwise, no difference. However theoretically the correct name for the chord is half-diminished 7th or minor 7 b5. Those old school jazz guys were generally not trained in classical music theory and where these chords come from. They saw a minor triad with a 6th in the bass (the minor IV chord) going to the dominant 7 or V7 chord. The interesting thing is how it makes you think when soloing. Modern jazz educators who correctly think of it as a ii7 chord from the harmonic minor scale will say that you can use the Locrian mode with this chord as in D Locrian on a Dm7b5. Old school guys who think of it as an F minor 6 chord naturally think of the F melodic minor scale. Also, in pre-modal jazz days like BeBop you hear the harmonic minor scale used quite often in solos over minor 2-5-1 progressions and the diminished scale over dominant 7th chords. Although it is a whole different discussion, the so-called "altered scale" on dominant 7th chords can also be thought of as the melodic minor a half step above the dominant. (Ex. Ab melodic minor over G7) In answer to you question, it just gives you another way of looking at it and how you think about these progressions that may influence the way you play when improvising.
@@clintjones9848 Yes, open studio is a great resource. Back in the 60s in NYC when I got into jazz there were many great players but very few of them taught. Lennie Tristano in Queens, Sanford Gold and Tony Aless in Manhattan, and I think Roland Hanna took some students. Bill Evans referred people to Sanford who had a great systematic approach but had a waiting list for openings and was not cheap. Now you can find anything on the internet. It's a wonderful thing.
👍👍I love the idea of shifting on the ii chord between the Fm69/D and Ebm69/D before even getting into the G7. Essentially, it's Bb13 to Ab13 to get into G7
I watched a bunch of your older videos, and they were great, but this newer setup is awesome. The keyboards that you don't have to pass back and forth is much better.
My understanding is that Super Locrian is another term for the altered scale. The locrian scale with the natural nine I have always called Locrian Natural Nine (admittedly an awkward name)
that would also be melodic minor 6. same here. came up with so names made by me 😂. but hey they make sense. since you mentioned the altered scale. i call it ionian #1. hahahhaa ❤
In C maj .... you play Dm7 and G7 And on this G7 you can solo over with the Abm #7 the melodic minor scale of on Ab. Thats common bebop. Thats super locrian. G7 notes that are left in place are : g, b, and good ole f.
Hey guys, right before you ended the podcast, Adam played this tune where he did this Vamp with his left hand. I believe he went from C root to V and I believe up to the octave then the 9th (sorry no perfect pitch here) played on double bass and Peter was like oh yeah! What song is that? I know I've heard it and I know I have it. I just can't wrap my head around it. Ah Nevermind. I think I figured it out. They do that Riff on. That Jay-Z Pharrell tune
I love what you guys do, I have questions beyond my understanding but I learned that I've been doing chord progression all wrong, I have been trying to play triad 2-5-1 in f-minor and couldn't figure out why everything sounded meh. Turns out I need to learn extended chords, ugh I feel so far behind in music but this channel has kept me going and persisting regardless, thank you for all you do here it's spectacular.
hang in there man!! whenever you learn some theoretical concept go apply it to the piano and make those hands know these things! its going to be tough at first but I felt just like you, after a lot of practice things come naturally!
hey open studio, an example where the II chord of a minor II V I is not a half-diminished one, is the beginning of 'the shadow of your smile': the natural 5th of the II chord is quoted by the melody.
Please do a short video on scale structures that you use. I am noticing a distinct pattern in your application of the various scales and modes. I'm Cyrus from Kenya🇰🇪🇰🇪🇰🇪🇰🇪🇰🇪🇰🇪🇰🇪🇰🇪🇰🇪
Love you guys, so inspiring and great playing! Btw could you guys clarify what chord you're playing each time cos you say flat 9 sharp 13 but I don't know if that's in G or what with all them fancy inversions ;) . Have a great day!
Talk about "Woody and You". Where the resolution is to a major chord. Here is where the 9th sounds the most "correct". But really guys-as George Coleman said to me- There are no wrong notes, only wrong melodies. I have more of these pearls of wisdom, but i will stop here. You guys are GREAT.
Adam keeps talking like super Locrian and altered scale are different things? To me they are the same is he thinking of the bb7altered scale for super locrian and the normal melodic minor alt for altered chord?
If you’re playing the chord Dm7b5 and you want the listener to be able to hear it as it changes to the 5 chord I try to only play the notes in a Dm7b5 really focusing around the 3rd and the 5 of the chord. I personally am in a place in my playing where I stay away from modes. They atrophy my awareness of what REALLY aging on. They sound too nebulous. The listener gets lost for the sake of playing a mode cause I’m lazy and I know it as a tool and it’s under my fingers…….I’m mean you only have 2 or 4 beats so you might as well make them count!! Lol!!
You are sooo good, you hear everything, don't even need to name it.... I admit it is very intimidating to follow your discussion. Maybe think a little bit about an intermediate listener and spell things out a bit more... Thanks.
Ditto - understood a lot of it, but there were bits rushed over or where the guy in the right misspoke; which doesn’t matter if you know what he meant to say, but as a more intermediate player, it does matter … which cuts down on your audience, guys (just a thought!)
Yes, you are always told to raise your right shoulder when hitting G7 the : bb, ab, g, f, resolves to e ... C maj lick. And you absolutely have to raise an eybrow while looking astonished when someone in your small group plays a tritone sub. And you are asked to grunt and hum along when a player imitates an Oscar Peterson lick. Dont forget to tap your foot on the 2and and the 4and, A) to annoy your fellow musicians, and B) to prove to the world that you have lived and played years of la cumbia salsa diabolica el groovito mexchicana.
02:36 G7: Adam, is Eb supposed to be a #5 ? (1;7;3;#5;1). Adam, when you mention “alteration” it would help if you would use the terms flat or sharp in combination with the number (especially for me as a beginner). Thank you very much for another very informative video! All the best Ray Brown
Adam seems to be the more theoretical, technical one and Peter the intuition based one. Funny to see how he's sometimes confused by Adam's analysis', both killer players tho.
Great show. Thanks for the episode! Some constructive feedback: If you could "noodle" a bit less on your instruments in between explanations that would be great. I know you're having fast working minds but unless its an example of the concept you're explaining I find it too distracting for the ear. I'd also like if you could take more time to summarize the central takeaways of your explanations before moving on to the next subject. E.g. When you move forward from the II chord to the V chord. That'd be a great pedagogical thing for me. :) Thanks alot for your shows! You guys rock (I mean swing)
OK, pretty good but not one of your best. Just trying to be real with you here. Sometimes you’re flashy playing makes it hard to hear the speaker and you lose the pedagogical point also, could’ve used more visuals on the music score
