How Do I Play Long 2-5-1's?

[@reglagirl5802]

I like the attention to the V from the beginning of your conversation about the tension of the scale itself was there,so that I began to see it's relationship to so many other things

[@markokononen8702]

Thank you Adam. This fits greatly for Pertido’s A - section.

[@JohnHorneGuitar]

This is wonderful. Something I’ve seen and played many times but never thought about it as implying the V of ii. Love finding new ways of wrapping my head around things. Thanks Adam!

[@mikemathews6034]

This was a really great tutorial, clearly and excellently presented and musically substantial. Thanks.

[@georgeradebaugh5363]

😊

[@jimkangas4176]

very useful - thanks! What I really like about this is the use of voice leading.

[@ildarrrr2]

That's great. I've just analysed George Benson's solo on What's Goin' On and I wondered why he plays Db note on Cm chord so I understood that he just implies that Cm is II in Bbdur so he plays Bb scales - Bb ionian, Bb mixolydian and even Bb blues scale.

[@skimanization]

Incredibly good and useful!

[@insidejazzguitar8112]

On the bridge of Bird’s solo on Moose the Mooch, I always thought he was using the major 7 of the II- chord to make the augmented triad in the spot Adam is discussing. But now I see he might have been thinking of that implied V of the II. I love the possibilities this opens. Thanks!

[@bobblues1158]

On this subject, I would like to hear how you would deal with 2 tunes, "Avalon" and " What a Little Moonlight Can Do" really up- half note = 160 -180 and 8 to the bar. The changes are then 2 times longer and the melody sounds in 1/2 time to bass who is playing 8 8th notes as quarter notes and the drummer is doing the same thing. I know you guys know what i am talking about. I think that when one is dealing with 4 bars of Fmaj 7 and 4 bars of C7 at a burning tempo, it takes a lot of practice time to get that together. But you do a good job here of giving solutions, but what i am talking about is the harmonic duration being 2 times longer because of the afore mentioned songs already having long harmonic duration Or take " Darn That Dream" starting as ballad, quarter note 60mm, and tripling up. This was happening in New York back in the 70´s when i was there. I picked up on it from George Coleman´s bands. But that was around during my New York period, and It is a tremendously energy builder.

[@cnrbsmth]

For years Ive always thought: If the chords are open, make them more dense, if they are dense... simplify.

[@theeclecticreader5657]

This is a GREAT lesson! Thank you.

[@CarlosVazquez-em1ih]

U guys are the best!!! thanks a million for all this information.

[@clintjones9848]

Awesome lesson. I was recently thinking this exact same thing. I was thinking everything is too diatonic in these long 2-5s! How do I add chromaticism?! Trying different scales and stuff. You hit the nail on the head.

[@dragolov]

Thank you, Master!

[@afxmnstr]

I thought this question was already answered by Donna lee ? 🧑🏽‍🚀

[@rickg6293]

Great explanation...Jerry coker in his book elements of jazz...calls it cesh..chromatic elaboration of static harmony

[@RavenYan]

1 question tho…. When I saw the title I thought of my own problem with longer 251’s which is playing 16th notes per chord/bar

[@patrickcunningham618]

nice!

[@jazzmanilow]

Thank you for the video♪ Please there is a function called Auto Translate,so please add it(from japan)

[@eternalrainbow-cj3iu]

For me personally, mybears perceive a Ii V as a Suspended 4th with a / Doimant resolving to the utmosy tension resolvimg to 12 Tonics/ 12 m7b5 's( Vii ) or what Step you want resolve to...foe instance as in O.G.D.S.( Green Dolphinstreet) Ending: Fm7 Bb7 Ebmaj7 Bb7 Ebmaj..evolved to G713B9 C713b9 F

[@christophueberhorst7924]

Thank you very much. Very helpful. Have to build up my vocabulary of 2-5-1s. Am inclined to play licks and runs, often kind of flashy.

[@RavenYan]

Always thought of the walk down as a line cliché but never as a short VI7. Interesting…

[@juwonnnnn]

👍

[@darienmoncree3980]

I’m a simple man. I see Coltrane, I click

[@eternalrainbow-cj3iu]

And Bb713b9 to Emaj7 #11 or Going to Gm7/ non Eb and rathet going to Fm7/Bb Bb7/Bb IEb/( Bb )new Kuvk ass Chiorua...or right befor head revisiting / reprise...

[@crapadopalese]

6:32 not to be J.K Simmons, but the music is DRAGGING behind the visualization. Makes it really hard to follow, I had to close my eyes, or my ears :)

[@Markpianist1]

I don't see improv implying this. The one line is just outlining a C minor major which works becuase it is done quickly. It would be hard I think for a person to hear in the way you described. Sometimes we over analyze things we are all guilty of it wanting to find a way to play like that or teach someone. In this case best way as always is find solos with long passages play it in all keys and use your ears. Really, theory can help you look out for what to hear but this would be hard to hear so I disagree very confusing . Just play, use your ears!