Let's take another look at
All the Things You Are.
I'm still gonna be using a lot of
approach notes and chromatics neighbors.
This time, I'm gonna try to surround
the notes a little bit more.
In fact, I may just start out.
Which is the root, or rooting the third.
And do the kind of exercise where
I put a note below, a note above,
another note below, another note above.
And kinda finally land on the note,
so the biggest,
longest one would be
So that's a whole step below
a half step below,
a whole step above
a half step above.
A half step below, and then the note.
That's kind of a common thing
that you'll hear in jazz tunes.
Miles Davis used to do a lot
sneaky little lines all around one note.
So let's take a look at this and
see see what we come up with.
Now I want to just lay out one line.The
one I was concentrating on the most.
I realized as I was playing it,
I should show you.
I'm not picking every note.
I slide into the first one.
Kind of pull up on the, on that one.
So so far I've only picked two times.
I think the last three notes, I'm picking.
So practice that.
You can just take that one lick,
and play it with me.
Let's do it around the F.
Try picking all of them.
You can try it many different ways but
sometimes in the, you know when
I'm actually working on this I'll,
I'll notice I'm doing something
I want to share with you.
So that was a little bit of
chromaticism on all the things you are.
Have fun with it.
Play through it a bunch of times, a bunch
of hours and see what you discover.
It's a, it's a little door that's opening
up into a real chromatic statement.