Søren, you left out one more. You can do that same substitution with a B-7 E7 to CM as well. I use the dominant scales when I substitute, but I'll try the minors next time. All beginners should be watching your channel. Thanks again.

I think in terms of teaching Coltrane, you are spot on. From the stories I've heard of Trane practicing all the time this makes sense that he would always be pushing toward the target notes so that his time would be perfect when going through the changes of a tune. Søren, I think you explain Trane better than anyone. Thanks.

Where do you add syncopation in those 4th intervals?

Fouth intervals sounds what Eric Dokphy is using on Alto and Bass Clarinet plus major and minor chord exstentions.

I’m totally confused! I use to watch your videos and Get your Sax and Sax academy and Better sax and Chad’s channel and everyone has a different not only approach but different opinions on Jazz articulation.

Good. Good ideas.

I couldn’t down load the pdf☮️🎶🎵🎷

Modal, Tonal, Quartertone jazz with facility and phrasing can never replace what's in the heart and soul of a great musician. If you don't have an ear and special qualities that make the genius then you're probably just another academic hack that will never attain the magic that very few have...the movement of Jazz the art form is too elusive for most musicians at the top level and so most musicians can only dream of becoming a master.

zvuči kao polka , nije swing, nije jazz

ne valja. to nije jazz.

Ok…🤔

Great lesson. Thank you ❤

Dude made this sound easy 😂

Soren, ALWAYS look forward to your videos! You never fail to connect application with information. You're a great teacher, brother. Be well, my friend.

Great lesson. I love your bit about avoiding the root on the one of the chord. I also notice that you hit the root on the Dm9(the ii) in the first bar. Is this because its the ii and less of the grounded chord? Thanks for recording this!

Where’s the pdf 🤔🎵🎶🎵🎷

What is the substitution based on replacing the B7 with Cm7-F7?

A point with the tongue was made

Belle chemise❤

Longest ad I've ever seen on youtube.

Brilliant approach. Thanks a lot.

Stop practicing scales, start learning tunes (note to self)

Thanks so much for your content, i just found your channel and I'm a beginning jazz bassist, would your content on Patreon help me and when i join what would you recommend i check out? Thanks so much..

This is why Dexter is one of my favorite tenor players; his note choices and phrases land perfectly, always sound interesting, but also, somehow inevitable, like nothing else would have fit in the moment. When you analyze his playing, he simply and elegantly plays beautiful lines, respecting the chords. Scott Hamilton carries on this approach nicely, but with fewer quotes. Good video - cheers!

Thank you for all your exciting lessons Soren and also the analysis of Blue Bossa by Dexter Gordon (one of my favorite saxophonists with Stan Getz) I studied Dexter Gordon's solo in Blue Bossa for months and then I published it on KZbin: kzbin.info/www/bejne/roXZho1oeKx9mcU Studying a solo and playing it in full is exciting but very long and difficult. I have never regretted studying solos in full but now I rather study phrases and of course your lessons 😎 Thank you for the analysis of this piece and this exciting solo and I hope to see one of these days the analysis of a piece by Stan Getz Again a big thank you for your lessons Soren it motivates me to play the Sax every day 🎷😉😎

"The Scale Is not The Chord" What an important and shocking foundational teaching tip!! I've played for too long without a proper understanding of the chord / scale / licks relationships so I signed up for your Patreon because your method definitely speaks to me. I was scratching my head when I saw the Bb in the D minor scale @6:15 but a light bulb went ON when you explained it. I then too a look at the full PDF and now I'm super excited to apply this! Take my money bro! TY!!

Thats wrong...the way you play....

are you from amsterdam?

learn chord tones, scales, use a metronome, and remember music is melody, harmony, & rhythm.

Hey Soren, do your manuals come in C?

Great video Soren. Too many people I hear jump right into the crazy diminshed and altered stuff and struggle to play the changes properly.

For this tune in d minor, I have found that a G7th works very well in bar 8- this will lead you directly into the key of E flat, or C minor- the soloist can play a C minor over the chord F minor very well, on bar 9- the soloist is on the tonic, while the chord is a subdominant-

Hi Soren. Thanks for this. This looks very much like the chord progression in Lady Bird by Tadd Dameron. You subtitute the II-V by the IV-7 bVII7 o fthe I and then resolve on I. So for example D-7/G7/Cmaj7 => F-7/Bb7/Cmaj. This also implied in the bridge of Night & Day: EbMaj7 (the I of the F-7/Bb7) to Cmaj7.

Apples and oranges comparison.

there is a slight chaotic energy in this video and i absolutely love it. great stuff

what do you mean by 3rd interval? is it the last note he ends on the next note starts a 3rd apart (and if so ,minor or major 3rd)

💯💯💯

E7 - C Dominant of Relative Minor (Am)

Just make it swing and fookin fake it. Lol good stuff

Beautiful, your contribution is fantastic. Are these triad are played on the first chord written?

Hello. I downloaded a lesson :Practicing Like Parker, Brecker and Coltrane Will Change Your Playing Forever. But it is not the one related to this video. could you give me the direct link to buy you the good one this time ? thanks.

Often called mediant dominant.

A musical genius 👌🏽

Rhythm and syncopation is automatically incorporated in the C7 wow!"

Soren! You sound terrific!."

Thanks Soren! This was so helpful! What a great way to think about all these dominant substitutions and how they are related!

trueeee

0:48: easiest way to understand these: G7 is dominant V7 of C. Db7 (bII7) is tritone sub of dominant V7. Bb7 (bVII7) is “backdoor dominant” of C… and E7 (III7) is tritone sub of the backdoor dominant.

Greeeeat Lesson, Soren !!! Thank you

So if we're looking at all the 4 dominant chords that resolve to a one 1 chord, let's say to B flat major, it would be the 5 chord F7, the backdoor dominant A flat 7, the tritone B7 and the D7 whatever you call that. So the only one that is very awkward is resolving a D7 to B flat major,so the way you can think about that to make it easier is to think of the D7 as the 5 chord resolved to G minor and the G minor is a substitute for the B flat major,is that right?