A couple of things I think worth mentioning for anyone following along with Rick's analysis (thanks for doing and showing how you think about understanding Bird!). 1. if you try and "get" Bird without listening to the original recording (preferably slowed down to 75% or even 50%) you will miss all the nuance in phrasing and rhythm that made Bird such a genius. The page will never be able to show the feel that Bird has (a constant 3 against 4), which is so special and unique in all of music. 2. talking about a dominant b9 sound is really diminished and all that implies. If you only think b9 on that dominant, you might easily miss the vast world that the diminished sound offers (i.e. each diminished relates to its four related dominants). 3. The tritone and all that implies. Rick talks about the b5 but doesn't mention the actual corresponding tritone. All the great soloists in jazz understand that a D7 is also an Ab7, which means you can put Eb- sounds, F-, C, Dbmaj sounds against the D7 and if you resolve correctly, they give a whole new world of sound possibilities. Lastly, for guitar players, if you want to hear Bird discussed by the greatest exponent of his sound on guitar, Google Jimmy Raney. Better yet, try and find the lesson he gives a student of his where he talks about so many players who "straighten" Bird out rhythmically, including someone like Joe Pass. Raney, more than any other guitar player, really understood Bird's invention was as much or more about rhythm, in addition to his harmonic and melodic genius.
Great analysis. I bought your book yesterday on Halloween. The guilt of receiving all your efforts for free was really eating at my conscience . You are a great resource for all things music.
A couple of good tips for jazz improvisers: First, in a ii-V7 just ignore the ii and start playing the dom7 chord -- so if it's Am D7, just play as if it's D7. You'll see it all the time in transcribed solos by the great bop players, and you'll see it in this video. Example: if you see Bm, E7, Am, D7, G, then play it as if it were E7, D7, G. That slows down the changes by a factor of 2 and you'll still sound like Charlie Parker! Second, Parker loved to play 3,5,7,9 over any chord -- four eighth notes in a fast arpeggio starting on the down beat (beat 1 or 3). So it's good to learn to do that if you want to sound like him. Look at the heads of his compositions, like Donna Lee, for examples. Putting them together, if the chord is Fm, then play notes D, F, A♭, C which are notes 3,5,7,9 of a B♭7 arpeggio (a B♭9 chord). See line 4 of the sheet music in the video.
@@starttherebellion9146 Yes! He was pretty clear on the first of those two points. I'm not sure about the second one -- that might be just me, but I've noticed that before. I actually wrote that comment for Facebook and then thought it might work here. It works better before you watch the video than afterward! ;-)
The reason they do that is apparently to make it easier to transpose and think of in any key. That said, although I’m used to it (as I imagine anyone spending time in the Omnibook is) I’d prefer a key signature too. Edit: while I’m at it with my wishes, I wish they had a guitar version that was notated up an octave. I mean we have to be able to transpose up the octave anyway but still it would be nice to see a version that was notated for us since they already have a bass clef version and the various transpositions for the horns.
@@PaulHofreiter That doesn't make any sense. A piece in a key is actually a lot easier to transpose (and hear while reading) if it is written in the key.
Jens Larsen I agree with you and find that to be true. However the rationale is that by treating it that way that the intervals are all apparent in any key because you see them all written with no preference to a parent key. But then they have enharmonic misspellings so that argument also starts to fall apart. I don’t agree with it, just explaining why they chose to do it that way. (Edit: think of it this way, when we wander from the parent key in a tune we don’t write a new key signature. Their idea was “why even put the parent key signature in” relating to that. I don’t think it works well but it’s easy enough to get used to after spending time with it)
@@PaulHofreiter No worries. But as you point out yourself now, that is a fairly flawed way to do things. We may not always change the key signature when moving from another key, but you also don't write the melody of All The Things You Are as an Fb in bar 6. I think you will find that most of the time we just use accidentals to write the correct notes, because that makes sense to our ear and to the way we understand the note. This is something that the omnibook really fails at no matter how they try to justify it. Seems like insisting the earth is flat to me :)
Beautiful analysis Rick! I love the fact that a year ago, when I first started following you, a lot of this would have been over my head. A year later with many of your videos and many hours with the Beato Book studied... every bit of wisdom of this video is immediately understandable and absorbed in real-time. -- My God... You've re-wired my brain! :D Thank you so much for that!
0:32 rick your videos are DEFINITELY of high production value. The content is enough on its own, never mind how you showcase it and all that. I’m sure I speak for everyone when I say, that we’re extremely grateful you’re on this platform
Sweet! I used to transcribe solos and then go over the analysis with my teacher and compare notes. He always insisted I do my own "detective work". Perhaps you could suggest a 4 or 8 bar Parker phrase for folks to transcribe and then go over the analysis at some point later, allowing people to compare their transcription and analysis with yours. Just a thought. These are awesome videos Rick!
@@KiraPlaysGuitarGood Advice! I did that quite a bit back in the day, as well as transcribing and analyzing solos. It still helps to compare transcriptions with a teacher or player to validate.
Beautiful tuitorial breakdown to enhance our understanding of these composition's you are our best not afraid to help us out in this overwhelming journey thank you Rick.
Rick, you're the bomb as a teacher! I would have like a beginning chord flow analysis to high level pick out generic analysis and then how Charlie stayed main stream and where he deviated (inovated) if he did. Thanks.
Check out the solo from XTC's 'Pink Thing', I think Dave Gregory borrowed some of the chromatic flavour of this piece for his very fast, succinct guitar solo.
Sir, first I have to say your knowledge is incredible and you are a great teacher. I absolutely love to follow your posts because they provide really good lessons. On that note, I'm composing a string quartet, and would like to send you the first movement, so, if you can, listen to and critique it. If that's possible, where can I send it? Thanks.
!!!!!! I love this, Nahre has a lot of analysis like this on her vids, I'm so glad that you take the time out of your day to elaborate these in such a detailed way. I have my charlie parker transcribed solos and this is beautiful to learn.
Love Bird. I wish you'd string it all together when completing the lesson and play the solo as written and per your analysis. That would help loads, just seeing your fret board work in action. Listening to CP blows my mind even with the chart. Really nice video though.
Thanks for this great analysis Rick. You're an incredible resource for every musician in this planet! Ang a great inspiration for anyone starting a music channel on CZcams.
Thank you, Rick. I worked on Ch Chi and Confirmation with Mr. Negri in the 90s. It was difficult and I'm not very well practiced on them now. Maybe I'll break out the Omni Book after watching this. I purchased your Beato Book yesterday. So far, it's great stuff and a great perspective.
Great video, Rick. I’ll re-watch this undoubtedly. I’m a rock guitar player and I want to learn how to think as a jazz player when soloing. Would you perhaps have any tips? I’ll definitely analyse some jazz solos.
Great video Rick - very nice public service you are doing here. Might be worth mentioning that you’re working out of the Omnibook (unless you did and I missed it) so that those unfamiliar with it can get it.
Wish he would have explained more about substituting Eflat6 to Emi6 over the Eflat to Bflat. The first part is easy, but the Emi6 is interesting. Otherwise he's great. As usual.
I guess this must a concert pitch transcription of an alto sax performance, because the sax can't play notes below a B-flat (one line below the treble-clef staff).
In bar eleven (@6:40) Charlie Parker ist NOT starting on the sus 4. It's an E not an Eb (over a Bb maj chord). That could be called a #11 but the way it's used here it's just a chromatic approach for the 5.
Totally right. And there ain't no way Parker is playing F7susb9 in bar 12! Parker is doing a little Bb-F7 thing in bars 11-12, resolving to the root of Bb on beat 3 of bar 12. Then there's a little F7b9 thing into bar 13.
J C that is the Bb is the b7 of Cm to the b9 of F7b9. That was a common device in bebop. It’s really Ebm6 as a sub for F7. He uses it again 3 bars later.
Mr. Beato please, if you can, try to introduce your audience to the orchestral music of GIACINTO SCELSI. You have already done videos about Olivier Messiaen and the music of both composers is historically connected. Sorry to have bothered you with this request again. Thank you for your videos.
Hey Rick, love your channel. My brother sent me your way and have been hooked ever sence. Could you do"Never my love" by the Association. What makes that song great. Thanks
How do you interpret 8th note triplets in context of strong and weak beats? Chord tones on strong beats, scale tones and passing tones on weak beaks... so if you have 1 & a - are both the & a weak beats?
In the Beato club, do you discuss any practical advice on using these analyses in your own improvisation? e.g. I transcribed a Red Garland tune, and I can play the whole thing in about 5 keys now, but it still doesn't seem to influence my own improvisations.
It’s a mistake in the Omnibook. I know how the solo goes so I played it correctly. They are missing the flat on the Ab later on too. It’s kind of like the chord symbols. They’re not very accurate.
I was wondering if maybe they do that consistently - an accidental only applies to the note it is written on, which is not normal, but which makes sense in a way for this kind of music. That would be odd, but much nicer than randomly just writing it wrong......
I need help. Commenters of youtube, comment! I am trying to get to a point of being able to play freely when it comes to improvising solos and knowing how to have my hand drift to chord shapes, I want to be fluent player in expressing my ideas I have in my head, on guitar, but where do I even start? I know the notes on the fretboard, I know what notes are in which keys, but then I come across all these abstract ideas and concepts that all seem vaguely important in achieving my goal, but I don't know when they might be best learning/ if they are even useful. I simply feel lost in all of this and don't know which steps are what I need in becoming a better player. I would love some pointers in what to learn/ peoples stories! That would be awesome
the analysis seems to, not play chord tones of the ii- in the ii- V7 I s, and just plays the notes of the V7. ... a style type thing or just for this tune?
It's a style thing, notice it in a lot of players from the time, they'll just treat a ii V7 I line as being V7 I, generally as it's easier to think of it in those terms, and it allows a bit more time to improvise over
It’s common but he also does the opposite, as do others. For example in bar 19 he is outlining D minor over the G7 chord (which if G were V, would be the ii chord). There isn’t really a hard rule of when players only use V, only use ii or choose to solo over both so looking at as many solos as possible is helpful. But you can see trends, like Pat Martino is very often only using ii. Bird is often only using V (though we see exceptions like in here)
Of course because they are the foundation of jazz...no, really! Why else do you think you have the creative freedom to blow over the changes?! If it was a liberal foundation, you'd have to fill out a lotta' paper first and do it by someone's idea of 'regulation', and then wait for an inspector, and if you complained they were inhibiting you and keeping you from doing it 'your way', they'd send the federales your way and heaven help you if you swung the neck of your guitar toward 'em, as they have a predisposition to ID such things as an assault weapon...hey, just kidding...if you dig Mr. Beato, you're ok with me.....{;^)
A couple of things I think worth mentioning for anyone following along with Rick's analysis (thanks for doing and showing how you think about understanding Bird!). 1. if you try and "get" Bird without listening to the original recording (preferably slowed down to 75% or even 50%) you will miss all the nuance in phrasing and rhythm that made Bird such a genius. The page will never be able to show the feel that Bird has (a constant 3 against 4), which is so special and unique in all of music. 2. talking about a dominant b9 sound is really diminished and all that implies. If you only think b9 on that dominant, you might easily miss the vast world that the diminished sound offers (i.e. each diminished relates to its four related dominants). 3. The tritone and all that implies. Rick talks about the b5 but doesn't mention the actual corresponding tritone. All the great soloists in jazz understand that a D7 is also an Ab7, which means you can put Eb- sounds, F-, C, Dbmaj sounds against the D7 and if you resolve correctly, they give a whole new world of sound possibilities. Lastly, for guitar players, if you want to hear Bird discussed by the greatest exponent of his sound on guitar, Google Jimmy Raney. Better yet, try and find the lesson he gives a student of his where he talks about so many players who "straighten" Bird out rhythmically, including someone like Joe Pass. Raney, more than any other guitar player, really understood Bird's invention was as much or more about rhythm, in addition to his harmonic and melodic genius.
I can't thank you enough🙏🏻
Great analysis. I bought your book yesterday on Halloween. The guilt of receiving all your efforts for free was really eating at my conscience . You are a great resource for all things music.
A couple of good tips for jazz improvisers: First, in a ii-V7 just ignore the ii and start playing the dom7 chord -- so if it's Am D7, just play as if it's D7. You'll see it all the time in transcribed solos by the great bop players, and you'll see it in this video. Example: if you see Bm, E7, Am, D7, G, then play it as if it were E7, D7, G. That slows down the changes by a factor of 2 and you'll still sound like Charlie Parker!
Second, Parker loved to play 3,5,7,9 over any chord -- four eighth notes in a fast arpeggio starting on the down beat (beat 1 or 3). So it's good to learn to do that if you want to sound like him. Look at the heads of his compositions, like Donna Lee, for examples.
Putting them together, if the chord is Fm, then play notes D, F, A♭, C which are notes 3,5,7,9 of a B♭7 arpeggio (a B♭9 chord). See line 4 of the sheet music in the video.
Good advice Mike. I think Rick was actually alluding to that in several places.
@@starttherebellion9146 Yes! He was pretty clear on the first of those two points. I'm not sure about the second one -- that might be just me, but I've noticed that before. I actually wrote that comment for Facebook and then thought it might work here. It works better before you watch the video than afterward! ;-)
Brilliant thank you!
I agree, if its a quick ii V
5:02 the lick (evil version)
Great video and analysis! Maybe it's just me, but I really hate how they write a solo that is so clearly in Bb out without the key signature 🙂
yeah obviously Rythm Changes in Bb..
The reason they do that is apparently to make it easier to transpose and think of in any key. That said, although I’m used to it (as I imagine anyone spending time in the Omnibook is) I’d prefer a key signature too. Edit: while I’m at it with my wishes, I wish they had a guitar version that was notated up an octave. I mean we have to be able to transpose up the octave anyway but still it would be nice to see a version that was notated for us since they already have a bass clef version and the various transpositions for the horns.
@@PaulHofreiter That doesn't make any sense. A piece in a key is actually a lot easier to transpose (and hear while reading) if it is written in the key.
Jens Larsen I agree with you and find that to be true. However the rationale is that by treating it that way that the intervals are all apparent in any key because you see them all written with no preference to a parent key. But then they have enharmonic misspellings so that argument also starts to fall apart. I don’t agree with it, just explaining why they chose to do it that way. (Edit: think of it this way, when we wander from the parent key in a tune we don’t write a new key signature. Their idea was “why even put the parent key signature in” relating to that. I don’t think it works well but it’s easy enough to get used to after spending time with it)
@@PaulHofreiter No worries. But as you point out yourself now, that is a fairly flawed way to do things. We may not always change the key signature when moving from another key, but you also don't write the melody of All The Things You Are as an Fb in bar 6. I think you will find that most of the time we just use accidentals to write the correct notes, because that makes sense to our ear and to the way we understand the note. This is something that the omnibook really fails at no matter how they try to justify it. Seems like insisting the earth is flat to me :)
I love the video lesson format! Really valuable information, thank you 🙏
Now it’s your turn to play it.
Beautiful analysis Rick! I love the fact that a year ago, when I first started following you, a lot of this would have been over my head. A year later with many of your videos and many hours with the Beato Book studied... every bit of wisdom of this video is immediately understandable and absorbed in real-time. -- My God... You've re-wired my brain! :D Thank you so much for that!
No joke... I feel like Neo when he's starring down agent Smith, and he can finally _see_ the Matrix, lol
0:32 rick your videos are DEFINITELY of high production value. The content is enough on its own, never mind how you showcase it and all that. I’m sure I speak for everyone when I say, that we’re extremely grateful you’re on this platform
Thanks!
Rick Beato no problem
Sweet! I used to transcribe solos and then go over the analysis with my teacher and compare notes. He always insisted I do my own "detective work". Perhaps you could suggest a 4 or 8 bar Parker phrase for folks to transcribe and then go over the analysis at some point later, allowing people to compare their transcription and analysis with yours. Just a thought. These are awesome videos Rick!
@@KiraPlaysGuitarGood Advice! I did that quite a bit back in the day, as well as transcribing and analyzing solos. It still helps to compare transcriptions with a teacher or player to validate.
Thank you, awesome info on all replies too!:)
Beautiful tuitorial breakdown to enhance our understanding of these composition's you are our best not afraid to help us out in this overwhelming journey thank you Rick.
Rick, you're the bomb as a teacher! I would have like a beginning chord flow analysis to high level pick out generic analysis and then how Charlie stayed main stream and where he deviated (inovated) if he did. Thanks.
Check out the solo from XTC's 'Pink Thing', I think Dave Gregory borrowed some of the chromatic flavour of this piece for his very fast, succinct guitar solo.
Sir, first I have to say your knowledge is incredible and you are a great teacher. I absolutely love to follow your posts because they provide really good lessons. On that note, I'm composing a string quartet, and would like to send you the first movement, so, if you can, listen to and critique it. If that's possible, where can I send it? Thanks.
A great song to do analysis of is, New Kid in Town. That songs has some great songwriting techniques buried within it! Always love your videos Rick!
!!!!!! I love this, Nahre has a lot of analysis like this on her vids, I'm so glad that you take the time out of your day to elaborate these in such a detailed way. I have my charlie parker transcribed solos and this is beautiful to learn.
Love Bird. I wish you'd string it all together when completing the lesson and play the solo as written and per your analysis. That would help loads, just seeing your fret board work in action. Listening to CP blows my mind even with the chart. Really nice video though.
11:39 almost spongebob
Almost krusty krab lol
Measure 11. E natural 4+. Its a chromatic aproach to the 5th
Amazing, Rick. This - solo analysis - appears to be a really informative way on how to approach & target specific chord notes. Thank you!
Joe Pass also ignored the ii chord and just thought of the 2 5 as the 5:-) Rick you are the Man!
Great Jazz lesson.....Charlie Parker is a legend.....Thanks Rick
Thanks for this great analysis Rick. You're an incredible resource for every musician in this planet! Ang a great inspiration for anyone starting a music channel on CZcams.
Love the process, Rick. Looking forward to more. Thanks!
Thank you, Rick. I worked on Ch Chi and Confirmation with Mr. Negri in the 90s. It was difficult and I'm not very well practiced on them now. Maybe I'll break out the Omni Book after watching this. I purchased your Beato Book yesterday. So far, it's great stuff and a great perspective.
Hi Rick! I memorized " Bloomdido " once and it did more for my chops than anything! Get the Bird Omni book and memorize as many as you can!
Such a nice analysis
Awesome work as always Rick. I wore out my Charlie Parker Omnibook at music college. I had to buy a new one. His solos are still amazing in 2018.
Rick, thank you very much. This type of analysis helps the composition process a lot.
Excellent Rick! Keep these kind of videos coming!
THIS IS GOLDEN!!! THANK YOU SOOOO MUCH RICK!
Challenge: do what makes this song great or analysis of Dazed and Confuzed (Song Remains the Same Live)
A great analysis lesson Rick.Thanks
You're doing great work.
Thanks for sharing!
if you get a Joe Pass book you find lots of this phrasing lines,nice video.
Really, really cool! Rick!
Great vid would be cool to hear u play whole solo at start or end of vid 🎸🤟
You're so good at this. .
Life goals. ✌
You are a great teacher!
Can also hear elements of it on Duke Ellington stuff. I do love Charlie Parker.
Really good lesson, Rick. Thanks alot
Perfect timing. I just finished learning the head for Anthropology!
This is really interesting Rick ! We like that !
2nd? Idc, you are awesome Mr. Beato
This is fantastic - thank you Rick!
Fantastic video, this worths gold, thank you so much for your work
I love Charlie Parker! Thank you for sharing this video Mr Beato :)
Awesome !!! I'm back in High School Jazz Band 🆒👍👍👍
this is amazing! thank you so much! You made my day and inspired me to start chasing the bird again
Professor, Love you work Rick. Thank you
Can't wait to get home to jam along!
Really great lesson
Great video, Rick. I’ll re-watch this undoubtedly.
I’m a rock guitar player and I want to learn how to think as a jazz player when soloing. Would you perhaps have any tips?
I’ll definitely analyse some jazz solos.
Great video Rick - very nice public service you are doing here. Might be worth mentioning that you’re working out of the Omnibook (unless you did and I missed it) so that those unfamiliar with it can get it.
Super helpful. Thanks
i enjoyed this.
I really can't understand the downvotes.
You do a good job then thinking an octave higher while reading an octave lower!
the Bach of Swing
Can you put Confirmation by Charlie.
Thanks.
Ahhh memories
Thanks!
Amazing
Thank you Mr.Beato I got your mug.
Wish he would have explained more about substituting Eflat6 to Emi6 over the Eflat to Bflat. The first part is easy, but the Emi6 is interesting. Otherwise he's great. As usual.
This is a common substitution to play the min6 chord a whole step below the V7. Just play Ebm6 to Dmin7. It will be obvious.
This is the solo from the Savoy Sessions version
Bar 11 is E Natural!
I guess this must a concert pitch transcription of an alto sax performance, because the sax can't play notes below a B-flat (one line below the treble-clef staff).
thanks for hittin some actual charts!
Where on the neck would you decide to play this? That’s what gets me on the guitar
Usually doesn’t come until you realize you’re hitting a position dead end ahaha
Thank you. I much prefer a human music teacher than a fucking robot.
I think I have Manhattan Transfer doing a vocal with this little tune. :)
Nice Barry Harris descending in there. 😊
Carlos Santana likes to acknowledge Charlie Parker as a major influence of his.
i don't hear any influences in his solo's
In bar eleven (@6:40) Charlie Parker ist NOT starting on the sus 4. It's an E not an Eb (over a Bb maj chord). That could be called a #11 but the way it's used here it's just a chromatic approach for the 5.
Totally right. And there ain't no way Parker is playing F7susb9 in bar 12! Parker is doing a little Bb-F7 thing in bars 11-12, resolving to the root of Bb on beat 3 of bar 12. Then there's a little F7b9 thing into bar 13.
Curls that is correct. I played the Eb by mistake.
J C that is the Bb is the b7 of Cm to the b9 of F7b9. That was a common device in bebop. It’s really Ebm6 as a sub for F7. He uses it again 3 bars later.
Mr. Beato please, if you can, try to introduce your audience to the orchestral music of GIACINTO SCELSI.
You have already done videos about Olivier Messiaen and the music of both composers is historically connected. Sorry to have bothered you with this request again. Thank you for your videos.
Hey Rick, love your channel. My brother sent me your way and have been hooked ever sence. Could you do"Never my love" by the Association. What makes that song great. Thanks
How do you interpret 8th note triplets in context of strong and weak beats? Chord tones on strong beats, scale tones and passing tones on weak beaks... so if you have 1 & a - are both the & a weak beats?
In the Beato club, do you discuss any practical advice on using these analyses in your own improvisation? e.g. I transcribed a Red Garland tune, and I can play the whole thing in about 5 keys now, but it still doesn't seem to influence my own improvisations.
Nice! Can you do one on Donna Lee? :)
Hi Rick. I purchased your Beato book. Is there a playlist that I could follow along with it?
...at 1:59 that D isn't that a D#?
It’s a mistake in the Omnibook. I know how the solo goes so I played it correctly. They are missing the flat on the Ab later on too. It’s kind of like the chord symbols. They’re not very accurate.
master you also play in the second bar, fourth eight note, an A instead of G as is written on the part, is that also a mistake? or am i misshearing?
I was wondering if maybe they do that consistently - an accidental only applies to the note it is written on, which is not normal, but which makes sense in a way for this kind of music. That would be odd, but much nicer than randomly just writing it wrong......
where can I find a solo sheet with chords like this, so I can practice analyzing solos?
hey Rick , what do you think about Paul Gilbert and his new album Behold Electric Guitar ...there is a live youtube on the Iridium Club ; )
F7 at 11:35 sounds like sponge bob song
Please do a lesson om the Song named Baker Street.
Guitar solo part
Rick!
Does anyone find reading this stuff an octave higher quite tricky ?
why do you ignore the ii chords?
So your playing everything up an octave ?
Guitar sounds one octave lower than written.
if you feel the music, you have no need to analyze it
I need help. Commenters of youtube, comment! I am trying to get to a point of being able to play freely when it comes to improvising solos and knowing how to have my hand drift to chord shapes, I want to be fluent player in expressing my ideas I have in my head, on guitar, but where do I even start? I know the notes on the fretboard, I know what notes are in which keys, but then I come across all these abstract ideas and concepts that all seem vaguely important in achieving my goal, but I don't know when they might be best learning/ if they are even useful. I simply feel lost in all of this and don't know which steps are what I need in becoming a better player. I would love some pointers in what to learn/ peoples stories! That would be awesome
So you are playing it an octave higher then how it's written?
I did it because the guitarist sounds and octave lower than written.
the analysis seems to, not play chord tones of the ii- in the ii- V7 I s, and just plays the notes of the V7. ... a style type thing or just for this tune?
It's a style thing, notice it in a lot of players from the time, they'll just treat a ii V7 I line as being V7 I, generally as it's easier to think of it in those terms, and it allows a bit more time to improvise over
It’s common but he also does the opposite, as do others. For example in bar 19 he is outlining D minor over the G7 chord (which if G were V, would be the ii chord). There isn’t really a hard rule of when players only use V, only use ii or choose to solo over both so looking at as many solos as possible is helpful. But you can see trends, like Pat Martino is very often only using ii. Bird is often only using V (though we see exceptions like in here)
I *loved* the lesson, but the guitar sounded clanky.
Probably 'cause it's not plugged in.
Haha correct :)
Those who can't play analyse.
Tabs?😫😫😫
Wrong channel if you're looking for Tabbies
Was he drunk or high? Serious question.
Dude, you’ve got a Vote Republican ad running before this video.....
Robert, ads that run before videos are related to what YOU watch not anything to do with the channel you’re watching. That’s a CZcams thing bro.
Of course because they are the foundation of jazz...no, really! Why else do you think you have the creative freedom to blow over the changes?! If it was a liberal foundation, you'd have to fill out a lotta' paper first and do it by someone's idea of 'regulation', and then wait for an inspector, and if you complained they were inhibiting you and keeping you from doing it 'your way', they'd send the federales your way and heaven help you if you swung the neck of your guitar toward 'em, as they have a predisposition to ID such things as an assault weapon...hey, just kidding...if you dig Mr. Beato, you're ok with me.....{;^)