Okay, now we're gonna play
the Antonio Carlos Jobim Classic,
Quiet Nights or Corcovado.
I'm gonna play my alto, so I'm playing
on the E-flat alto and baritone part.
But like all these songs in the entire
school, I also have written parts for
tenor and soprano, the B-flat part.
So, in looking at this chart,
two things I wanna point out,
one we start off with the polychord.
Remember that when you
look at a polychord,
in my case I'm looking
at a B9 over F-sharp.
The B9, the actual chord on
the top half of the polychord,
that's the chord that you're actually
looking at, that's the chord.
That's what you deal with.
The F-sharp on the bottom is just a part
of the chord that the bass is playing, so
again you want to look at
the top part of the chord.
Going down to measure 12,
I'm looking at my F-sharp altered.
It's actually written as
an F-sharp 7 flat 9 flat 13.
And so if you're reading on the B-flat
part, you're looking at a B altered chord.
And so the chord scale that
really goes along with that,
actually it's a G melodic minor,
G melodic minor.
The rule is that anytime you have
a dominant altered chord like this
that has a flat 13, ready for this?
You play the melodic minor scale a half
a step above the root of the chord,
did you get all that?
[LAUGH] Let me say that again.
Whenever you have an altered
chord that has a flat 13 in it,
you play the melodic minor scale a half
a step above the root of the chord.
So in this case, we have an F-sharp
altered chord with a flat 13,
so if the melodic minor scale
a half step above the root.
If the root is an F-sharp,
that means we're gonna go for
a G melodic minor scale, okay.
So because it encompasses not
only that flat 13, the D-natural,
but it also encompasses and
includes the flat 9.
Which is the G natural.
So if I have said that crazy or
that's too confusing.
Shoot me a message on the forum and say,
what the heck did you just say and
I'll explain it hopefully more carefully.
Also down here in measure 26,
I'm looking at a G13 sharp 11,
so if you're reading off a B-flat part,
that's a C13 sharp 11.
Just wanna remind you that if you don't,
cuz it took me a minute to
figure to remember this.
I've always used look at
these as major chords, but
whenever you see a chord with just
a number, it's a good way to think of it.
There's no MA for major or triangle,
hopefully you won't see triangles for
But no circles, no minus signs,
M-I-N for minor or whatever,
if you just see a number,
it's a dominant chord.
It's a dominant seventh chord, okay?
It's just that in the voicing you wanna
make sure that, if your the piano player,
you're playing the 13.
And if you're the soloist,
that 13 is really prominent.
And since it's a dominant chord,
that sharp 11 is available,
it happens to be the C-sharp and
low and behold look at that.
It happens to be the first
melody note in the chord,
so Antonio Carlos Jobim
knew what he was doing.
[LAUGH] I know, cool, okay.
Don't forget the augmented chord in
measure 32 also, so you see that there.
So off you go,
make sure you're playing the root,
the natural third,
the sharp fifth and the flat seventh.
That's the arpeggio for
your augmented chord.
And you know that because it's also
right here in the curriculum of my
jazz saxophone school.
Okay, so I'm gonna go ahead and play this.
It runs pretty long.
It runs two choruses and
a little tag at the end.
So you can have a lot of fun,
you can stretch out with this.
I'd love to see you perform this with just
like everything else, so if you're so
inclined, which I hope you are.
Video yourself playing this and
love to hear you and
that's what these lessons are all about.
So I can check out your video exchange and
I can hit you right back with my response.
All right, see you on the other side.