See if you can grasp this. It's a simple way to work on progressions.
🚨 Tune Deep Dive: “Wave” – Pt. 4: Chord Voicing Variations 🚨
In Part 4, we explore different ways to add motion and color to your chord voicings throughout Wave. Small shifts—like alternating between a major 7th and a 6th, or sliding inner voices by a half step—can create beautiful forward momentum while keeping the harmony clear.
This lesson focuses on several spots in the tune where these ideas really shine:
🚨 Tune Deep Dive: “Wave” – Pt. 3: Comping Rhythm Variations in the Intro 🚨
In Part 3, we continue working with the intro vamp (Dm7–G7) of Wave, this time focusing on comping rhythm variations. Instead of just outlining the harmony, we’ll explore how subtle rhythmic shifts can transform the groove and add variety without losing the bossa feel.
In this lesson we’ll:
get sonny clarks chorus down - https://www.youtube.com/watch?v=98vC-bF2AOA&list=RD98vC-bF2AOA&start_ra…
WHAT IS THIS THING CALLED LOVE
chord melody
my simple solo
come up with your simple solo
practice my lick - DO YOU REMEMBER IT?
🚨 Tune Deep Dive: “Wave” – Pt. 2: Guide Tone Movement in the Intro 🚨
In Part 2, we dig into the intro vamp of Wave (Dm7–G7) and explore guide tone movement. This exercise builds from a single voice to two, three, and finally four voices, showing how harmonic richness can grow naturally out of simple lines. By working through these patterns, you’ll train your ear and hands to connect chords smoothly while keeping the groove intact.
In this lesson we’ll:
🚨 New Tune Deep Dive Series! 🚨
Pt. 1: “Wave” – Establishing Form & Groove
We’re kicking off a brand-new Tune Deep Dive with Antônio Carlos Jobim’s Wave—a bossa nova classic that’s as groovy as it is deceptively tricky. This tune has a 44-bar form (A – A – B – A, with 12-bar A sections and an 8-bar bridge), so memorizing the structure is step one.
Today, during the vibe hang with Mike Mainieri, we were discussing Lionel Hampton's solo on Stardust. Mike was absolutely correct that Lioniel barely touched the damper pedal throughout, playing the instrument as if it were a drum.
Many years ago, Lionel had a fire in his apartment and lost many of his instruments. His valet, on several occasions, would call me to bring an instrument to a gig in the Philly area so that he would have something to play on. At one of those events, his valet gave me a copy of a transcription that a friend had done of that solo.
In Part 8, we explore the altered scale (seventh mode of melodic minor) as a way to create tension over dominant chords before resolving back to the tonic or next chord. This scale contains altered chord tones—â™9, ♯9, ♯11, and â™13—which provide a wide palette of colors for jazz soloing.
In Part 7, we explore the half-whole diminished scale as a tool for soloing over dominant chords in the blues. This symmetrical scale creates tension and color that can really open up your sound—especially when used sparingly and with intention.
In Part 6, we continue exploring scale-based soloing over the blues in F, this time using bebop dominant scale variants enriched with added chromatic passing tones. This lesson focuses on creating longer, more fluid lines that still clearly outline the changes—using the dominant bebop scale as a flexible framework, not a strict formula.