Not to fanboy or anything 🫣

I really appreciate those kind words!

Awesome - glad to hear that!

Thanks!

You’re very welcome!

Glad to hear that!

Thanks so much! Glad you dig it.

Thanks so much! Glad you enjoyed it.

Awesome! Glad I could help.

That’s great to hear! I have a bunch of videos like this on my channel so be sure to check them out too.

Thanks so much!

I'm a guitar player but your videos are great for learn the easy way to do. I love Wes Montgomery and I think he use this type of thinking.

😂😂

🙏

I'm so glad you like it!! Thanks for the kind words.

You’re welcome!

Are you asking why I played Dmaj7 and Dbmaj7 instead of Bm7 and Bbm7? Thinking the relative major 7 over a minor chord is what I do all the time - it’s basically playing the 3579 of the minor chord, but get you away from playing the written root of the minor chord (and makes things easier because you’re converting things back to major)

@@DavePollack a B-7 E7 ii-V for instance wants to resolve to Amaj as it’s in that Moses of that key. So why not think of the chord as Amaj instead? A Gmaj would give you a sharp 4 in there if you were to extend the chord or play a scale run.

All stagnant dominant chords, yep

@@DavePollack Ah I see…do you have any advice or videos on a method like this on tunes that are a bit more busy with changes?

There are different processes for that - I would look at my masterclass on melodic soloing to work on voice leading through changes. That will help you much more than superimposing and chopping up the written chords, like in this video

The more complex/fast chords are, the simpler you need to play to make a "good" solo. For the A sections, you can just follow the written chords and do nothing else and still make a solo that sound awesome and has motion. When the chords move slowly (the bridge) if you only play those chords/chord tones, it will sound pretty stagnant and boring, hence why I focused on the bridge for this specific video. When I hear people solo, the bridge is where it usually sounds the worst.

@@DavePollack Thanks for answering!

@@jazzman_10 Also the A section is totally diatonic (in a basic rhythm changes) except for the third of the VI chord, so you can totally just play Bb pentatonic, or Bb blues, or Bb major, over the whole thing and ignore the changes if you want. I usually ignore the changes and play melodically over the A section, but try to hit the major 3rd of the VI chord to stay inside the harmony.

@@blow-by-blow-trumpet Thank you so much. I've tried to play The Flintstones tune and realized that C blues scale fits quite well but had no idea why. I will check with Bb ( I do not know if all rithm changes are the same, I guess you can play them in different keys). I knew there had to be a scale that would fit in those chords, they go by so fast it's not possible to follow them, at least not for me...

@@jazzman_10 Bb concert that is (for a standard rhythm changes). That's C blues on trumpet or tenor sax.