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—♭9, ♯9, ♯11, and ♭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.
In Part 5, we shift our focus from arpeggios to scale-based soloing, using the bebop dominant scale as a framework for outlining harmony with a smoother, more linear flow. This scale includes a chromatic passing tone (usually the natural 7th in a dominant scale), allowing you to maintain a strong rhythmic flow while still landing chord tones on downbeats.
In Part 4, we take the 7th chord outlines from the previous lesson and extend them into 9ths, while also adding alterations and inversions on dominant chords. The result is a more melodic, colorful, and expressive soloing vocabulary—still grounded in chord structure, but reaching toward the sound of bebop and beyond.
In Part 3, we take our soloing a step further by outlining each chord using full 7th chord arpeggios, adding more shape and melodic possibility to our lines. Still working with Minority, this lesson is about expanding from guide tones to complete harmonic outlines—while keeping strong voice leading in mind.