play minor on EVERY chord

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@JazzGuitarScrapbook 8 ай бұрын

Apologies about the slightly glitchy video. It is in fact my camera doing weird stuff - you do not need to contact a medical professional.

@agindertube 4 ай бұрын

Thanks! It's amazing how much useful information packed in that video.

@JazzGuitarScrapbook 4 ай бұрын

Thanks for your kind donation! Glad you found it useful.

@agindertube 4 ай бұрын

@@JazzGuitarScrapbook I have a question regarding your explanations starting from approx. 9:20. You refer to a "D minor major 7 sound", but as far as I can tell you play *Db* minor major 7, resolving to Abmaj (which also fits to Charlie Christian playing Eb7, and what you say at approx. 8:58 "always play the minor chord a [whole] step down from the dominant"). A related question: do the two chord charts at approx. 9:30 refer to C minor? If yes, the right chart should have the black dot on the E-string, and should be on fret 7. Am I right? Thanks again for the great video and these beautiful lines and sounds.

@JazzGuitarScrapbook 4 ай бұрын

@@agindertube yes on both counts - I think another commenter pointed that out elsewhere in the comments

@frankvaleron 8 ай бұрын

Thank you sir. You make wonderful videos

@mbatampangumadimbadien8260 8 ай бұрын

Greetings from France , very great and useful lesson,this is what students need to progress ... A simple and clear way to make jazz improvisation easy understandable and drinkable...Sorry for my english!Have a good day...

@JazzGuitarScrapbook 8 ай бұрын

Thanks!

@ccat9354 8 ай бұрын

Rewatched and grabbed the Kofi file. This captures something that seems to get missed with a lot of the consumers of the Linear Expressions DVD/booklet (self included). Pat's taking his minor language and doing the various transpositions and conversions, and they sound so damn good. Minor or no modifications and they work so well in all the other contexts... But that's a far sight from declaring every major ii V in sight "ii dorian" and every minor ii V ii "locrian #2" and claiming to understand Pat's minor conversion... I was definitely that bum for too long. 😅Your resources are awesome, thanks for making the various PDFs/PPTs available!

@JazzGuitarScrapbook 8 ай бұрын

Thanks! Yes that sort of thing is to me missing the point. The point is not harmony, the point is lines and language! But so often discussions of improvisation in jazz become discussions purely about harmony, which is important, but only one part of what we do.

@agindertube 4 ай бұрын

I have a question regarding your explanations starting from approx. 9:20. You refer to a "D minor major 7 sound", but as far as I can tell you play *Db* minor major 7, resolving to Abmaj (which also fits to Charlie Christian playing Eb7, and what you say at approx. 8:58 "always play the minor chord a [whole] step down from the dominant"). A related question: do the two chord charts at approx. 9:30 refer to C minor? If yes, the right chart should have the black dot on the E-string, and should be on fret 7. Am I right? Thanks again for the great video and these beautiful lines and sounds.

@patrickcaron5929 8 ай бұрын

Hi Christian . I discovered your channel and it's a Gold mine . Thanks a lot for all you make

@JazzGuitarScrapbook 8 ай бұрын

Thanks Patrick!

@MrDaneBrammage 8 ай бұрын

Cool idea! Experimenting with the 'minor on dominant' example, it seems to work equally well with any transposition that ends the lick on a chord tone. Your lick in Fm over Bb7 ends with walking down to the 3rd of Bb7, which sounds great, but equally so does playing it in Abm and ending on the 5, or Dbm ending on the root, etc. Sometimes it feels like we can get away with anything as long as it ends on a chord tone.

@cat3rpill3r 8 ай бұрын

Love the boom!

@alexwirtz9497 8 ай бұрын

Great video! Django was already doing a simplified version of a couple of these (vim or iiim over I, v6m over V7) by the late 30s. No question, though, that the boppers took it to a different level.

@JazzGuitarScrapbook 8 ай бұрын

For sure! Actually I could have swapped the Django examples for CC, he does all the same tricks with the m6. Also Lester Young. Probably goes back earlier.

@gmitter-sl3qq 5 ай бұрын

Hi again! I think at around 11:30 where you explain that what you can do on minor can also be done on major, the licks you play over cm7 F7 are in ebm7 gbm7, not fm7 abm7 as written in the tab, is that correct? So for the licks one can consider a major ii V, here cm7 F7, simply as a minor ii V with the same roots, so here as cm7b5 F7?

@JazzGuitarScrapbook 5 ай бұрын

@@gmitter-sl3qq you are right. I don’t know why I transposed those licks up a tone (the tab is wrong too)

@MarcoRaaphorst 8 ай бұрын

Those minor licks seems to be a movement to either the 3rd in dominants 7th chords or runs to the flat 7 of that chord in a kinda altered way. Nice. Thanks!

@brucesstreet8204 8 ай бұрын

Yes - anything to excape the diatonic trap. Very interesting.

@gmitter-sl3qq 5 ай бұрын

Hi again! Thanks for your fast resopnsiveness in the comments!I had hard times unterstanding the problem of Bm over E7 (where a E7b9 sound would be more "diatonic" in key of C) in the All of Me example, but now I think I got it. Couldn't the same be said about the A7? That a A7b13 sound would be more diatonic and therefore the Em lick could also not fit (it contais F# and D# and C#) for example? Or is there some difference between how to handle an III7 in comparison to a VI7? Aren't they more or less equivalent in the sounds/scales to be typically to played over? both being secondary dominants, for example. Or are the "correct/diatonic" scales to play over different for these two typically?

@JazzGuitarScrapbook 5 ай бұрын

@@gmitter-sl3qq in this case it’s just cut and paste. Yea what is true of the E7 is also true of A7.

@rickjensen2717 8 ай бұрын

Great stuff 👍! I think Pat Azzara (Martino) used to call this 'minorising' chords.

@LowKeyTired-q7d 8 ай бұрын

More musical room setup ... Good !!!

@JazzGuitarScrapbook 8 ай бұрын

I’ll get some Marshall stacks back in there…

@QuintonVonesh Ай бұрын

How would something like this be for improvising over non-jazz harmony. Like pop progression 1-6-4-5. Im trying to inplement jazz lines over more conventional "pop" harmony purley to spice things up. If we did a progression like C-F-Amin-G, i would think of playing Amin, Dmin, Amin, and Dmin again (based off of what I read from Pat Martinos theorys and analysis) thoughts?

@JazzGuitarScrapbook Ай бұрын

@@QuintonVonesh give it a try

@QuintonVonesh Ай бұрын

@JazzGuitarScrapbook wrong time be away from the axe! Will give it a try soon

@gmitter-sl3qq 8 ай бұрын

Hi! Thanks for the useful lesson! I guess in the section on the half dim, where you talk about the minor one step down the dominant, over the Eb7 in Charlie Christian's solo you probably mean Db min, not D min? Db min maj7 would give the 13 b9 sus sound over Eb7 I think.

@JazzGuitarScrapbook 8 ай бұрын

Yes that would make more sense lol