What Is This Thing Called Love - Super Chorus

[@bassmonk2920]

Bringing the joy and interest of the original wonderment of this thing called jazz...

[@danielharris9403]

Garner started out as a stride player, it doesn't surprise me to see him sat so elevated. Gravity is our ally.

[@skattman11]

I love this guy ... sympathetic ... cool ... not searching the perfect shot ... but always in a good mood !! Really fun !! cheers Mr. gregg

[@markbra]

Your enthusiasm is wonderful.

[@sindrimareydalfridriksson500]

Bill's chorus: Yes, he is playing C half-whole diminished ideas over the Gm7b5 - C7, which makes sense. But take a look at his voicing on the F minor bit: Ab-D-G. That is sort of a Fm 6/9 voicing..but if you take a good look, you can see that the voicing also belongs to an E half-whole diminished scale (which is not related to C half-whole). So he is actually implying an E half-whole, or more specifically a F whole-half diminished sound over the F minor bar. It makes sense because you go the root, the ninth, minor third and the natural 6th inside the scale. Great substitution.

[@barbarajames6853]

One of the most interesting, and useful, tutorials I've ever seen. Seeing how these pianist approach this tune is very illuminating. I find, and maybe others do too, that I have a problem with translating the theory into practice. This allowed me to get a more functional approach to this subject.

[@frankiemidnight4218]

More of these please! As a jazz piano student taking a gap year from college, this is exactly what I want!

[@eternalrainbow-cj3iu]

Erol is hitting it bad!!! Dorian over the Tonic Naughty!!! It Rocks in a creepy relaxed.Way wow Phrygiduan minor.I love it!

[@CharlesAustin]

Gotta love Earl Garner ..the presents of joy !!!

[@andylavernemusic]

Hi Adam, enjoying your work! In bars 5 & 6 of the bridge (Brad Mehldau) the second mode of the Gb melodic minor scale (Dorian b2) turns the Ab7 into an Ab7sus4b9. This has become a frequent chord color change more recently. Hard to say if Brad was thinking in those terms, or perhaps was thinking colors.

[@adammaness]

Ah, I’ve never used the scale in this context but certainly recognize the sound (and really dig it) now that I’m playing around with it. Thanks, maestro!

[@kristerman]

It could also be explained with the relative dominants theory imo. B(with #11) iver Ab

[@phild5469]

@@kristerman Agreed. B13#11 over the Ab7 then Bb13 over the G7. Both Phrygian sounds. Kinda makes sense to me! :-)

[@sindrimareydalfridriksson500]

Yes, Brad is thinking the 2nd mode of Gb melodic minor. I call it Phrygian with a natural 6th, some people refer to it as a Dorian b2. But yeah, the chord sound implied is 13sus4b9, and the b9, sus4 and 13 create an augmented major chord inside the scale, which gives it that ambiguous melodic minor sound. With a flat 13/b6 it would just sound like a regular Phrygian (or think A lydian/Amaj7#11 over Ab, that's a typical voicing).

[@pedroboschibrasil]

Yes, sounds like it

[@ABCABC-gv1gc]

I love giving people. Thanks again.

[@bucksmusic]

Great as always Adam; thanks. A very unusual thing to do, but I think it works well. We shouldn't get stuck in a rut playing in only one style, and this gives people a chance to hear other styles they might not normally listen to.

[@harrypalmer3481]

LOVE your lessons, Big thanks Daddio!

[@bertramblik8826]

This Super Chorus is a great idea for video lessons! I hope we can see more of this series! :)

[@richoneplanet7561]

Love your channel man. The jazz theory, creativity and fun - sparks the imagination. 👍🏼

[@francisrichard5282]

Thanks Adam! This compare & learn approach is awesome!

[@cesarecostanzo4683]

Thank you Adam, so much fun.

[@crono303]

8:30 My guess is that Oscar Peterson has an A natural there because he's generalizing those first two measures as just C7 and playing the diminished scale over both. That's what it sounds like to me, and at those faster tempos, usually the chords get generalized. Bill Evans does the same thing, playing C7 over both the Ghalfdim and C7. As for the Mehldau thing, not sure how he thinks of it, but it kinda seems like he's playing B7 over the Ab7, which Barry Harris talks about sometimes. You can substitute any dominant chord with any of the 4 dominants they're related to (B7, D7, F7, Ab7 all work over each other).

[@chrisgeddes1272]

He could also just be thinking of it as a lower neighbour note to the Bb. My understanding is that people didn't think in a chord-scale way in the early 50s, when improvising they they would think more about either embellishing the original melody, or think of R-3-5-7of each chord as the main notes then use chromatic enclosures, diminished passing chords, tritone subs etc to connect the chords in an interesting way.

[@crono303]

@@chrisgeddes1272 That's probably true! If you play a diminished chord off of the third of C7 chord, you get an Edim7, which is very common, especially going to minor chords. And if you approach each chord tone of the Edim7 chord by a half-step below, you end up with the diminished scale, but you use it as a chord with approach tones instead of as a full scale (which is how I like to approach improvising, as well). Anyway, I think the main lesson to take away is that at faster tempos, it can be useful to generalize 2-5-1's at just 5-1. You can also hear Keith Jarrett do this in his intro to "What is This Thing Called Love" where his left hand just plays C7 for those two bars.

[@garycitro1674]

I really appreciate EVERY SINGLE play along lately with the free pdfs. Lots of fun and lots of learning. I am enrolled in a course at Open Studio, and I have to get around to it (!) but these are so great. THANK YOU! I guess the two down-voters don't like getting free, well prepared, fun lessons. (Or they probably can't cut it.)

[@musterionsurly]

that was a great vocabulary expander like learning english swahili dutch and esperanto , so interesting to contrast the languages, they say you don't understand language at all until you can speak at least two.

[@Gusrikh1]

Fabulous.....

[@MomLAU]

This is great! Please break the video down by chapters and it will be perfect.

[@JudyK1]

This was fun!

[@RGS61]

Great video and great practice strategy! .. Would love for you and Peter to do a video on Erroll Garner .. who, as many know, was unable to read music .. His musical vocabulary was a function of a deep knowledge of his broad repertoire, his innate musical ear and creativity, keyboard skills and of course lots of practice .. According to former sideman, he looked for players who could keep up with his constant invention, modulation and rhythm changes .. So much of your wonderful channel is predicated on the importance of knowing and being able to apply theory as the foundation for playing jazz .. While you can analyze and deconstruct Garner in that way, that wasn't how he approached his art form .. So when it comes to jazz, is theory really the way in? .. Please discuss!!!

[@ValirAmaril]

Isn't that killin'

[@shaonantriggersu4886]

Maybe Brad's color comes from the 'dominant family' theory which Barry Harris mentions all the time. He plays F alter color in a D alter(or D dominant or Ab dominant something) place and I guess in the modern use of 'dominant family' other colors of modes beyond mixolydian could be used in this way of substitution...

[@kristerman]

That's what I thought, although I think B(#11) fits more easily

[@shaonantriggersu4886]

@@kristerman yep it's actually the same scale lmao

[@kristerman]

Just like Barry's non modal approach better, to get to the same conclusion, I think his system is simpler

[@jazzpedals]

That Ab7 is played like a Ab13susb9 by Mehldau

[@maloneycraig]

So cool! Would be fun to mix-and-match (e.g. now try OP on the bridge instead...)

[@willsims2009]

I noticed that Oscar Peterson (as well as Duke Ellington) does not always play a full chord in the left hand. It sounds like their just playing the 5 note. For example on Cmaj7 he's playing an octave of G instead of the full chord. I noticed that Duke Ellington and him do that on Cmaj7 or even that last C7 chord in C jam blues!

[@dominiccastillo9677]

This is great!

[@DUANEYAISER]

1:20 “This might be a bad idea” I can’t see how it’s possibly a bad idea. :-)

[@jeuxdeau2009]

Thanks !!

[@willsims2009]

On that F-7 Bill Evans is playing an F-6

[@eternalrainbow-cj3iu]

1000% Convivinced that this will gie a hybrid.but I am talking Huge result

[@fredpizzo1284]

What equipment are you using to slow down each solo? Thx!

[@sergiomeza9854]

Make a Eldar Djangirov tutorial pliss 🙏🙏

[@davidsheriff9274]

He's fantastic, check out the video of Donna Lee.

[@eternalrainbow-cj3iu]

I think Brad uses Cyclic Paterns that wil finally resolve

[@luancarvalhomatos7888]

35:11

[@Gerard_2024]

Starts at 05:30, if you´re planning on dying tomorrow...

[@juwonnnnn]

👍

[@eternalrainbow-cj3iu]

Maybe Oscar invemted there the Locriam # 2 ovet.Iim7b5...???lol

[@willsims2009]

It sounds like Brad Mehldau was thinking chromatically!

[@EdSpargo]

The whole Super Locrian thing really bums me out. I never heard anyone else mean any thing but Altered . Not sure why you need to keep using it for the Locrian Nat2. Kinda stubborn.