Added: 2 years ago
From: Lot2learn
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  • what effect does the Eb minor pentatonic have over the D7, early on in the video? in the respect of resolving , does it matter what chord tone you resolve to? excellent use of pentatonics

  • please, more of you mccoy tyner stuff!

  • Can you please explain the reharm/b-E7 over the Bb

  • @Jazzyteach65 Reharm for 2 measures with changes of BbMaj7 to EbMaj7 consists of one measure Bb-7 - E7 then one measure Bb-7 to Eb7.

  • @Lot2learn Thanks a bunch!

  • super nice playing man

  • @fredkingsss I appreciate your comment.

  • I would love to hear your version of McCoy's beautiful 'Aisha' in different tempos.

  • Just written to my jazz singer friend about your videos. She's started to teach herself to write music/backing tracks -- so I forwarded your channel.  I love what you did here with Autumn Leaves.

  • yo man. you should check out McCoy's playing on 'the Surrey with the Fringe on Top'...

    for me thats the key to his playing in the seventies. He is thinking more triadically then in pentatonics at that stage

    for me, time 4tyner to the mid seventies is the most exciting bit of his playing.

  • damn, that's what i needed, to see those rootless chords played from above. they never sound dull. i shall look over more of your videos in the next days. peace!

  • Incredible. Your ripped 'em changes.

  • Questa (for me) is l'assoluta piu chiara dimostrazione di come McCoy Tyner suona. Non solo un divertimento da imparare ma anche da ascoltare *****

  • Ups,,,I mean

    This (for me) is the absolute clearest demonstration of how McCoy Tyner plays. Not only fun to learn but also to listen to *****

  • Grazie Alfonso!

  • Can u be my personal teacher?

  • Yes, of course.

  • @Lot2learn

    1) Are most of the pentatonic in 3 note or 4 note sequence groupings?

    2) did Coltrane emphasize pentatonics a lot when improvising over these types of chords?

    3) I assume there's a lot of these sus 4th based chords going on. Somebody in another comment says that some are played rootless. Is that correct and is it important to omit the root for some effect?

    thanks, your playing is excellent

  • @brambau generally speaking, voicings omit the root when there is a bass player playing. It's not so much for effect but rather to give yourself more options, and to give the bass player some freedom too. As far as effect goes, Tyner was more likely to include the root for effect. Sometimes you include the root but not at the bottom of the chord-especially if you want movement with voicings in fourths you cannot avoid playing the root.

  • Tremendo Maestro!!!!!!!!!

  • Thank you for your comment.

  • Great Soloing, Over all the scale's i love it!

  • Thanks for your comment.

  • Roger, really tasty "avant garde", solid musical thinking and - the most important - playing with joy. Thx

  • I appreciate your comment.

  • Solid again, Roger. I think I'd like to see your own arrangement of a Strayhorn tune when you get a chance, such as Passion Flower, Lotus Blossom or U.M.M.G.

  • Thanks, I'll considerate those.

  • hell yea!!!!!!!

  • god bless you. You really help me more than all books. pls never stop to do that for us....

  • Wow! Really fantastic! Autumn leaves works so well as a bossa!And you really serve it up hot! Wow! And thanks for all the helpful info you have posted!

  • dude, this was bad!!! you've got my 5 stars, I could listen to this all day man. . fantastic. . I'd like to know how do you play melodies in octaves like you did at the end, what techniques do you use to play in octaves without messing up, ??? that seems hard to me. . thanks man

  • another excellent video by the don..

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