I like how you deviate from 'common wisdom' that chords should generally be voiced with root (in left hand) followed by 3-7 or 7-3 shells and then extensions- and with few or no repeating tones. Very refreshing and liberating to be given 'permission' to do this and create beautiful sounds!
Very good content! It makes me feel like I want to add my 2 cents to the discussion. In a tonal situation (ii-V-I) repeated notes do less damage when in the higher register (right hand). Fifth and roots on top of the voicings will fit nicely into harmonic series of fundamental and create a well-rounded sound that works well when the melody resting on the fifth and the roots. Rootless economy voicings usually work well on a piano when LH comping is required for soloing, on guitar with the limited note choice, and for a small combo with the horn section. The exception is half-diminished and diminished chords - roots often used here even then mimicking rootless shapes. Modal voicings it´s a different story. Even the I of ii-V-I can be seen as a modal tonic with heavier use of roots and fifth in the lower register.
Great stuff! It's very hard to practice in all twelve tones, but it's the best way to understand jazz harmony and develop full confidence with the instrument. Also, ear gets way better at listening changes and building melodic ideas for improvisation. Thank you!
i always had fear to take jazz tutorials but you are the good teacher i have taken a decision to follow you. please advice me whicj videos muster i go for as a beginner
So, is there anything you'd add to that Bb13b9 to make it a full 2-5-1? I imagine a good exercise would be for me just to get a voicing I like that comes before it
I honestly think the sound of the chord is 50% the color tones and 50% the actual structure, maybe that's why it sounds awesome even though it has repeated notes in it. Nice vid btw. Cheers !
Hi Noah, fantastic content as ever. I notice you often use the b9 in your 13th voicings, and also the #11. I love the sound. Taking me a while to get it under my fingers tho. Is that to be expected?
Hey so that's because this isn't really a G7-- it's a passing chord which happens in place of the G7. Sorry if that wasn't clear! You would never use this chord as a stand-alone G7 chord.
Noah Kellman is an excellent pianist & teacher.but the pioneer in jazz piano instruction was. John Mehegan .John's instruction books written more than 50 years ago are still valid. It's a shame that his name seems to be forgotten
I like how you deviate from 'common wisdom' that chords should generally be voiced with root (in left hand) followed by 3-7 or 7-3 shells and then extensions- and with few or no repeating tones. Very refreshing and liberating to be given 'permission' to do this and create beautiful sounds!
Very good content! It makes me feel like I want to add my 2 cents to the discussion. In a tonal situation (ii-V-I) repeated notes do less damage when in the higher register (right hand). Fifth and roots on top of the voicings will fit nicely into harmonic series of fundamental and create a well-rounded sound that works well when the melody resting on the fifth and the roots. Rootless economy voicings usually work well on a piano when LH comping is required for soloing, on guitar with the limited note choice, and for a small combo with the horn section. The exception is half-diminished and diminished chords - roots often used here even then mimicking rootless shapes. Modal voicings it´s a different story. Even the I of ii-V-I can be seen as a modal tonic with heavier use of roots and fifth in the lower register.
finally a not boring way of voicing a ii-V-I thank you
I love these voicing with the repeated notes, great content..!!
Great video! A good example of how good voice leading can make chords work that wouldn't work on their own
Great stuff! It's very hard to practice in all twelve tones, but it's the best way to understand jazz harmony and develop full confidence with the instrument. Also, ear gets way better at listening changes and building melodic ideas for improvisation. Thank you!
My pleasure!
@Alejandro Gjezi thanks for the advice!!
So much information, smooth, polished, logical; a masterful lesson.
i always had fear to take jazz tutorials but you are the good teacher i have taken a decision to follow you. please advice me whicj videos muster i go for as a beginner
Hey thanks for the follow! You can check out the beginner playlist here: th-cam.com/play/PLER1TzE-3yo-50TNZtBeAccX2yfXG717K.html
Your channel is really great !
Thanks, appreciate it!
Great Course
I don't like the sounds of 13s and 9s jazz. But, you're still an awesome teacher.
This is so cool bro
Love it, buddy. So helpful. See you on the bandstand soon!
I enjoy your lessons so much! Thank you for all you do!
Your'e welcome, Bob! Thanks for the comment.
Liberating!!!
So helpful!!!!
Great stuff! I've really been enjoying your videos. Thanks for all the great lessons :)
You’re welcome, Patrick!
Another great video, Noah. Who were your teachers that you learned this stuff from besides records?
awesome v video, I like it. Which camera gear do you use and which lenses ?
i’m glad i can keep up with your videos now 🔥
Awesome! Melodic voicing, thanks for sharing
So, is there anything you'd add to that Bb13b9 to make it a full 2-5-1? I imagine a good exercise would be for me just to get a voicing I like that comes before it
Saaa - voy!
Absolutely Great!
Thanks, Beka 🙏
GREAT STUFF as always!!
Thanks Kristof glad you’re enjoying it!
Thx Noah, excellent tips!!
No problem, Giovanni!
Just what I needed bro, keep it up!
I’m glad- you know I will 🙏
this is so good. waiting for the next video. Good Luck 👌👌
Thanks! New video next week
Awesome channel
Thanks, Gonzalo!
Lovely 🤧you a beast
Really help, TKS
You're welcome!
Awesome stuff. I need to learn more keys. Still too much of a newb
Nice one
Thanks, Anicet 🙏
I honestly think the sound of the chord is 50% the color tones and 50% the actual structure, maybe that's why it sounds awesome even though it has repeated notes in it. Nice vid btw. Cheers !
Agreed, Hernán. Thanks for watching!
Hi Noah, fantastic content as ever. I notice you often use the b9 in your 13th voicings, and also the #11. I love the sound. Taking me a while to get it under my fingers tho. Is that to be expected?
Killer content :)
Thanks, Vinny 🙏
is that Dm7 with the 5 on top a 'Kind of Blue' Voicing ?
How do you not have a million subscribers?
Bb13 b9 the right hand plays a G triad first inversion correct?
Exactly!
@@NoahKellman thanks Noah i love your lessons....take care.
Thx Noah , always good advices here :))
You’re welcome, Cyril!
...but Noah, in the G7 chord, how do you have an F#? It wouldn't be dominant then
Hey so that's because this isn't really a G7-- it's a passing chord which happens in place of the G7. Sorry if that wasn't clear! You would never use this chord as a stand-alone G7 chord.
@@NoahKellman ohhh ok, gotcha
Hey Noah, I now feel free to repeat notes. Thank you, Noah! Fr. Will in VA
Yes, it no longer feels like a sin! Thanks Noah! 🙂
Isn't that first progression(the Bb7 to Eb) an illustration of plagal cadence?
Oh man, my classical theory is rusty, but I think it’s a perfect cadence (V-I). Plagal would be IV-I, so Ab-Eb in this case
👊🏾
Noah Kellman is an excellent pianist & teacher.but the pioneer in jazz piano instruction was. John Mehegan .John's instruction books written more than 50 years ago are still valid. It's a shame that his name seems to be forgotten
Could you tell me how you can make the notes in green appear in your tutorial?
so for the 251, it's basically a chromatic "So What" progression.
Yeah exactly!
@@NoahKellman I love it!
Loved It,,, awesome...t y s m.
great advices thank you!