Learning Herbie Hancock Solo Technique
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- เผยแพร่เมื่อ 1 ต.ค. 2024
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Herbie Hancock plays the piano with a brilliant pallate of different colors. This video dives into the Minor-Major scale, one of the most haunting colors that he used from some of his earliest recordings to his most recent works.
If anyone wants to transcribe and/or analyze some of what I'm playing in this video so people can see the specifics of my solo, I'll put it online and give you credit for it.
Thanks guys! Please let me know if you have any questions or suggestions for future videos.
Peace and Love,
Weekly
To get your own private lessons, support the creation of these training videos, and join the piano community, visit / weeklypiano
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footprints bass line is C G C Eb not C G D Eb, this is important because it doesnt imply either a natural 9 or b9, so you can get some C phrygian action. If u check out Wayne or Herbie or Miles soloing on footprints they do it a fair bit.. also as said before in the comments, playing Ab mel min is implying G7alt (V - I) if you explain things functionally it can help people get WHY it works, not just "here do this it sounds like Herbie" also sorry to be picky but the footprints turnaround is F#half dim not F#alt (B natural in melody) thats the natural 4th so not within the the scale you would play over F#alt (which is G mel min) whereas the nat 4th works just lovely over F#half dim (appropriate mel min scale is A mel min). Otherwise, nice playing good luck to you.
Thanks man, i'm gonna check this out. If you make a video on it, send it to me and I'll watch it.
Adam Dada nice one
It’s called melodic minor
Thanks 🙏
No melodic minor has b6. This has natural 6
@@lucamcardle729 melodic minor is 1 2 b3 4 5 6 7. The minor scales with a b6 are natural minor and harmonic minor.
@@ethanmaruyama1149 sorry yeah i was thinking harmonic minor
Some things have more than one name. Minor major might just make sense to other people.
G Alt scale( dominant of C) = Ab melodic minor (up only)
Man you're awesome !! loved the ideas !! this is really inspiring !! THUMBS UP
Wow, I just checked the comments on this page and it really warms my heart to see all the generous, inquisitive, curious, and loving comments you all are posting here. TH-cam is known to be an impersonal arsenal of egotistical comment feeds, and I sincerely appreciate how genuine you all are being here, walking with me on the path to share, educate, and discover.
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/nitpicking mode on
So let me ask this:
You don't wanna be the person that does the dm7b5 - Db7#11 things, but you WANT to be the person that plays the bassline C-G-D-Eb instead of C-G-C-Eb
/nitpicking mode off
Thanks for the insight! Your video is great and inspirational. Keep up the good work.
2:51 Why wouldn't you want to be that person? I thought 2 to flat-2 to 1 sounds good? I thought it was at least better than 2-5-1 in some cases
Plays changes right but bass line wrong
Wish I could like this a thousand times. There's so much harmonic depth to Herbie's playing, thanks for highlighting some of the colors here.
Looks like its C melodic minor and G altered scale and of course it sounds fine because it sounds like V Dominant - 1 minor etc. on C pedal tone. Isnt it?
Great question, Ben. If you take any dominant V chord leading to the I chord, you can make it lead more powerfully by using the b9, #9, b13, and #13. If you use all of these chord tones at the same time, it takes the shape of a certain superimposed chord. That superimposed chord is the min/maj chord a half-step above the dominant V chord. So, if you're leading to C, then the V is G. If you superimpose the min/maj chord a half-step up from G, you get Abmin/maj over G. I hope that helps!
can you please tell us the chords and are you only using the c minor major and the aflat minor major...besides the turnaround? thank you
you need to practice more... your theory is sub par and you are that guy at the session that nobody wants to be/ be in the same room with. tisk, tisk, tisk. I shake my head! ........merely joking that was wonderfully gorgeous and quite beautiful thank you for the notes, this was very helpful. god bless
I appreciate his videos a lot although I can understand why many in the comments don't like his teaching style. The thing is that this type of overhead piano view with a quick explanation beforehand is really best suited for players who have lots of skills already. I remember not getting much from these in the past, but after watching this now I got a lot out of this (especially using the right turnaround at sessions lol). So guys I understand your frustration but if you come back to this video in a few months I think you will take more away from it then.
you are great Man! in Autumn Leaves if we play D7 alt NR left hand is it possible to pmsy RH C# maj with added.b3 and b6 9 tone scale that omit gbd.or is it better to use D7 octatonic to leave out G Bb D so C# D# E E# F# G# ABCC# so that rltge G Bb D.ztart to sound so refreshing when resolving.like rwa food veggie salat
Really good question, could you ask on my new app WeeBID? apple.co/33MvkKg
Ok well here is some actual useful info for those who get it . The modes of the melodic minor scale here coalesce into these chords and scales starting with most often used from the 7th degree we get dim.wt. or super locrian also known as the alt scale this is used anytime one gets a fully altered dominant e.g. B,C,D,Eb,F,G,A,B (B7alt) next we get C minor major7 C,D,Eb,F,G,A,B,C (C-maj7) next we get Dsus(b9) voice this chord by playing an Ebmaj7+5 over note D same scale just start on D next we get, Ebmaj7+5 used famously in Iris by Wayne shorter extremely hip sound . next F7+11 the very hip back door of the alt. chord . perfect for tritone subs . and last but not least we get a half diminished chord with a raised 2nd . Bill Evans known to use this chord just play an Ebmaj7+5 and A in the bass . These chords are why shorter and wheeler and me and countless others sound the way they do . I've been writing music spelunking these sounds for 35 years and I am here to tell you that they account for up to 60%of the sounds we associate with modern Jazz . Cheers ! Remember all 12 then have fun mixing and matching ! Better yet make a chart in all 12 and study it . Hey I skipped G because it's just a b13 chord sorry .
I love your videos, please don't stop making them. Haters are gonna hate.
I'm really appreciating the theory battle in the comment section. You can learn a lot.
The scale in the beginning is called the melodic minor scale.
Yes, but that would be if you descend in natural minor.
1bol1 No, that is incorrect, in classical grades they often teach this but it just saves time learning two scales in one.
Oli Jones Actually, 1bol1 is right b/c classical theory dictates minor cadence moving up in melodic to descend in natural minor, so, it isn't a proper melodic minor per se...
it's actually jazz minor, but yeah. Basically the same thing.
Its melodic minor the way jazz musicians use it. Still is called melodic minor just doesn't necessarily descend in aeolian or "natural minor"
Thanks!! I do teach lessons electronically....email me :) gns134 at gmail dot com (sorry, youtube won't let me put email addresses in comments)
Thats great,I understood everything you did,thats the kind of teaching I love to see,not boring at all and get right to the point.
" you dont want to be that guy that plays the afalt and g7 chords at the jam session"
yeah, you also dont want to be taht guy who play the bassline wrong though. xD
Great, thank you!
What did you mean by "...superimpose Ab over the C bass note? Why Ab?
Thank you for your great question! The Ab superimposition means you use a scale based on the Abmaj-minor as though you were actually playing a melody in Abmaj-min. You would use this primarily over the G bass note. The harmonic reasoning is that the Abmaj-min scale uses all the sweet upper-extensions of a G altered scale, and the G altered scale is what will harmonically lead you most effectively back to the C- scale.
I think it works as the Ab minor major starting from G, actually, which it turns it into G altered. So he might be playing the altered scale over the dominant chord of C minor (G7).
I always wondered why such a scale would be called a major-minor. It can be confusing because the term minor or major usually harmonically apllies to the 3rd of a scale or chord; , therefore major-minor would imply that the scale contains both 3rds. bB the way there is such a scale which is highly associated with Bartok. Its structure is 1,b3rd, M3rd, 5th, #5th,M7th, Pretty symmetric. also known as the augmented scale . I think.
Eddy Bourjolly People called it that from way back, it rolls off the tongue really nicely and I guess it just stuck
Eddy Bourjolly it's actually a harmonic minor scale to most people, but the term "minor major" comes from "minor major seventh chord," and this is the scale that fits that chord
Never seen so many arguments in the classroom ! Whereas I felt the enthusiasm was catching and you can learn something from reading his hands. Herbie Hancock is gentler on the key in IMHO, so the sound become sweeter on the ear. But why not show off your talent! I enjoyed listening. Thanks
dude your explanations so crystal clear. thanks this is actually a great tutorial material
Don't forget to breathe son. If you can't sing it you shouldn't play it. Good session.
Really enjoyed that, thanks! Just found your head got in the way of some of the juicier changes though, but that's good for my aural technique!
yes! One of my favorite solos of all time is Kenny Garrett's solo in Miles in Paris when they play Human Nature. I transcribed most of that solo, but I haven't put it up yet. I gatta finish that solo...it's ridiculous how he uses "out" sidestepping :)
I've been that person too for half a year, thanks for showing the light. :)
so what is name of the song you played by herbie?
It's actually the Wayne Shorter song "Footprints", on which Herbie plays in the Miles Davis quintet in the 60s.
Very well done. I love jazz improv.
dear weekly piano, could you please give me the chords± of the `bridge` F#maj7= Bmaj7 Emaj7/Amaj7= so the melodic minor thing also on the Flat VI subgstitution of the semi dominant I get and understand, I like your playing style a lot
Melodic minor, and its scaletone chords, and derivatives. OK. MBB
Isaac, it's not the melodic-minor scale, because that scale is different ascending and descending.
This scale is also known as the "jazz minor" scale. It's simply a flat-3 upwards and downwards.
People. Keep calm and buy Mark Levines Jazz Piano Book. Combined with Tim RIchards Jazz Piano 2 you can go very far with this " jazz shit"
I thought the major minor scale was whole step half step hole step half step etc. What you demonstrate is the melodic minor ascending.
+p1anosteve Yup the melodic minor ascending aka the Jazz Minor Scale. The modes of it are important as well, they all have different uses, colours, and functions.
Yes thanks. So minor major, melodic minor ascending and jazz minor are all the same scale. My suggestion of the minor major scale as (half step whole step half step whole step etc) was wrong it's actually is the symmetrical diminished scale.
***** Yes, the diminished scale is whole, half, whole half etc. I see the Half Whole Half Whole etc.. as the 2nd of 2 modes of diminished. I've also heard it referred to as the Double Diminished, but it's just a name. If you build tertiary triads of each step you get diminished chords. This Half Whole I also see as working off the root of dominant 7th and altered dominant chords. I've seen a good masterclass on this subject. If I can find it I'll let you know.
thanks
😊 thanks for sharing your knowledge. I’ll have to take a dip into this soon.
nice one der. could u do a tutorial on the finger soloing techniques u were doing with the right hand? 10x and gr8 techniques u have der. keep it up and more grace 2 ur elbows.
Really he didn't imply it. In a modern contest when one says melodic scale it's referred to the ascending one, otherwise one just says natural minor... the difference between natural and descending melodic minor is irrelevant for modern school students, where you don't care about using a scale down or upward. It's like slang, so you don't have to say everytime Ascending-melodic-minor-scale. But you can still tell my teachers to go back to their technical requirements if you want it.
Thank you !!!, it's sound really good !, there isna way to have a midi file of this?, is more easy for to copy and learn !! 🤗
He obviously refers to ascendent melodic minor scale. You got to be of bad faith to pretend not having understood. Are you looking for an excuse to be agressive? Or maybe you should just get over yourself. Scales are known in many different ways, there's not only one right.
no, mixolydian is 1 2 3 4 5 6 b7 1 and major minor is 1 2 b3 4 5 6 7 1
so its not very similar at all
in jazz you don't usually differentiate, melodic minor stays the same regardless whether is ascends or descends. making the name a bit pointless, but the same goes for "sus"chords....lot's of names in jazz make no sense when they are borrowed from classical.
A tritone and diminished fifth are not the same - one implies a diminution of the fifth, the other refers to the number of halfsteps. Im just saying this scale is much more commonly known as the melodic minor scale.
hmmmmm, so thats a minor/major,do you have any examples of a major/minor? Thx for these videos your great, and a great teacher. (and ps I love this tune) THANKS FOR THE REAL TUNRAROUND! I hate it when people botch the chords.
If you want to make a technical video you have to do it with skill. You can not see your back and do not see the hands playing the piano ... poor
weekly piano
I am a huge fan of Flood, Have you ever sounded out and played track 1, Introduction/Maiden Voyage? It is beyond my ken to reproduce it.
your hair is blocking the view .-. . But still a great videos! thank you very much
really nice insight.
thanks!
no the melodic minor is minor on the way up and then what he played on the way down.... some people call this the jazz melodic minor scale :)
solo,s verry bad timing , not hancock timing but , just running over the keys .
Nice substitution idea, thanks! There are a lot of totally free play-a-long tracks people can practice this concept with on my channel. Feel free to use them. carlosthecat
What are those subs that start at 5:51? moving in ascending minor 3rds of somekind... with guide tones in the right hand?
Interesting! Wouldn't you say that the Ab melodic minor scale is actually suggesting G7 altered (b9 / b13). So V altered with the I in the bass?
Yes! Exactly. Ab melodic minor uses all the altered notes of the G7 scale, which is why it works leading back to the C-.
Nice one, liking it!
Turnaround = 5ths' circle of F# B E A? Clever, but what gets you from A to C except an arbitrary movement? And if you do it once--what about the other times? Herbie played some nice stuff in the '60s--even his contribution on Lee Morgan's "Ceora" is a gem. But from there we go to Watermelon Man and Chameleon and the strap-on pianos (the gear people must love him--I no longer answer the calls from the music equipment stores, though I realize the pressures the sales people are increasingly under).
The other problem with an exercise like this is the exclusion of the temperamental bass player, who demands equal solo time and who bristles at every root note played by the piano that he considers his exclusive property (I only wish they could be counted on to play their "claim" when I play an inversion or substitute voicing of the chord). It's easy to get hung up on chords and scales at the expense of melody. I've learned the most by transcribing solos by Red Garland, Wynton Kelley, Sonny Clark, all of whom, above all, "sing" during their solos. Or, better yet, piano players could do worse than listen to Hank Mobley, the most melodic of them all (before 1966). And when the bass player continually objects, I remind him of Bud Powell, whose left hand primarily consisted of simple "shell" voicings (root+7th).
If you don`t understand what get you to C from A, study a bit more :-) its real !
You should do a video of a jazz greats solo technique who doesn't play piano like John Coltrane or Dizzy Gillespie
I would had explain this a different way, but thanx for the info.
I'm so glad I found your videos. I know I'll learn a lot from you as you explain very clearly. And you play very well. Your playing shows a lot of experience. You flow!
Hi! Can you study and show chord and solo techniques by Lyle Mays of the Pat Metheny Group? Songs like Better Days Ahead, James and Close To Home. I would want to learn from these songs. I hope you can help. Thanks in advance!
Paulo De Vera absolutely; I'll put it on the list of future potential videos. If you'd like to support and sign up for my patron campaign, you will get first dibs on picking the subject matter for an upcoming video.
Not instruction! Just playing to an audience. Not good.
it would be nice if you could do a video about Thelonious Monk or Dave Brubeck.
You are fantastic.. I would like to do your tutorials from A to Z.. Thank you so much.. I got a bit lost on the minor major scales supersimposed with you Herbie Hankock solo..
Beginning with 3 note quartals in your RH?
He did not descend this scale back to minor so this would not a called a melodic minor. Remember a melodic minor scale goes up with a raised 6th and 7th which is major but it descends back to minor meaning the 6th and 7th are back flat or to an orginal minor scale which is the basic of the melodic minor he kept the raised 6th and 7th ascending and descending.
Timothy Bias In modern we play ascending melodic minor the same when we're descending. Otherwise you just say switching to natural minor in the descending part.
I'm Satisfied with what I have seen and heard from your video. I love to see your more of your approach to solo jazz piano. I'm subscribing to you
brilliant, I´m a drummer and love watching how the pianist make their jazzy sounding harmonies .... love it a lot
Awsome, dude! For Footprints, so, you use minor melodic scale on Im and IVm ? and F#m7-B7/Em7-A7 instead of D#11/Db#11?
nice...
Those are all patterns and enclosures. I haven't made a tutorial covering those yet...I really should lol. You could probably find it in another vid though - look up jazz enclosures.
Damn. Excellent lesson! Thank you!
Oh yeah, and also check out my Autumn Leaves left hand comping video - that explains some of that using a different song.
This minor-major scale, is that the same as jazz melodic minor scale?
You're correct on the bridge roots, it's just the chord quality that's different. They're normally not major-7 chords. I generally do either a 7#11 or a #9 chord over them, but they're just generally altered in some dissonant way.
I really should make a left-hand comping tutorial for this style, but a lot of what I was doing is:
1) A low 1 and 7 in the bass to outline the chord
2) A higher minor-13 chord (structured as 3-5-6-9) in the mid register
Thanks for your curiosity!
awesome video and great sound of your playing. I agree not calling the scale melodic minor, cause that scale are changing after what direrection you're going on the piano. So Minor-major scale is quite familiar in Norway. Both doric, lydian and sometimes frygian and especially dominant locrian, which is crazy cool.
Keep it up!
Maj7b5, #11 and #9b13 chords
You just played a solo and explained nothing
How off would your min/Maj be if you played the correct Footprints bassline ?
It wouldn't be off at all, try it yourself
Melodic minor ascends this way and descends aeolian. This is the Jazz melodic minor which ascends and descends as demonstrated. Aeolian sticks with the notes of the minor 3rd's major scale going up & down.
Great video, as usual, thanks. Keep playing your music and don't feed trolls. 🎶🎹🎵
hm....that's a great idea. I've gatta check that out - I could use more info on Drop 2 anyway.
Thanks! Yeah, I can't stand it when I'm at jam sessions and people do the 2 to the flat-2 for the turn-around.
you have to understand that a lot of people are just starting piano or trying to find their style so yea i agree with miguel be patient. not everyone have years of piano exercising like me behind him ya know ^^
Change your name to white Keith. You are him in your playing sometimes and in Keith fashion, aren’t particularly educationally minded in your videos. You’re doing the Barry Harris “it’s like this!” *continues to play* - love your videos though. I come back time and time again and get a little deeper each time. 🙏
dude keith is white
That’s my joke lol. “Ornette Coleman approached him backstage, and said something like, "Man, you've got to be black. You just have to be black," to which Jarrett replied, "I know. I know. I'm working on it.””
Thank you so much Daniel!!! Its comments like this that inspire me to do more - I'm going to try to put more up soon.
Fuck... This guy's good lol
I would like you to do an exploration of the exercises in Mark Levine's Jazz Piano Masterclass: The Drop 2 Book. His book needs more examples of usage of usage of dominant drop 2 usage, etc.
this is really great! Can you maybe (not only for me) explain wich voicings you use in the left hand and also the change you use sometimes before going to Fmin?
Nice playing! What is your process/how do you go about connecting rapid scale-type runs like 4:35 - 4:39, and what scale are you playing at 5:05 - 5:07? Thanks
This i one of those videos I have come back to over and over. I’m finally getting my scales down and it’s finally going to have a chance to get in my hands. Thank you!
I love that track. Haven't tried transcribing it yet...maybe a project fort he future.
Thank you. I find this channel. Very useful
I really like this idea! I guess it makes sense, since Abm melodic minor will be an G7-altered scale which resolves nicely to C minor.
Yo man cool sound say why does your playing sound so clean and organized with good timing and is it possible for me to achieve a level of this playing style
working on a wayne shorter transcription now that I'm going to share with you guys.
i can't see it clearly because of your hair
This is great, just spent a lot of time on this
I've been playing piano off and on my whole life and I don't understand what he's trying to teach!
Fair play to you for learning that piece bro, true talent and dedication to the craft. Thoroughly enjoyed watching/listening to you play.