As an alternative to the BBC in the first measure of "Body & Soul", you could also play a Bdim/Eb, yes? It's an illustration of the "borrowing" technique in Barry Harris' 6th Diminished scale.
As usual your explanation is clear and uncluttered Jeremy. I've tried many ways to explain this to students over the years, but I doubt they ended up as unambiguous and well structured as yours. I salute you. BTW I asked Noah Kellman about the #5 vs b13 thing a few months ago and he said the same as you - if you have a b13, it's fine to include the natural fifth. This isn't something I'd really thought about until I started learning piano recently, but it means you can play root/fifth in the left hand. For what it's worth my favourite combo has always been #5/b9, and using the harmonic minor scale. Sounds great on any instrument. I first heard this chord when I was 12, listening to Steely Dan's Black Cow. It's the first chord after the initial C13 vamp and it sounds wonderful (A7 #5/b9), expecially with the vocal harmony. Also interesting is that they use a #9 chord shortly after, which doesn't resolve. You probably know the sequence, but it goes C13 (vamp), followed by C13 / A7(#5/b9) / | Dm9 / / / | E7(#9) / / / | Ebmaj7 / / / | C13....
Thanks Jeremy - yet another great video. One question - you warn against clashing with the melody. Can you elaborate on that? What intervals are you talking about?
Hey Jonny. Thanks for checking it out! Two main points of reference for a “clash” - #1 your ear! Listen and see if it bothers you. #2 half-steps. If the new altered tone you’re creating is a half-step away from an important melody note (or a half-step plus an octave, etc), chances are that it’s going to cause a clash. I hope that helps!
![ลองสั่งของจากแอพ temu ถูกจริงหรอ?? ( part : 1/2 ) [โกงไหมครับ ep.89 ] | DOM](http://i.ytimg.com/vi/RTcZSQTiDZw/mqdefault.jpg)
Wonderful explanation, thanks 😊
Thanks much, John!
Best clear and shortest explanation I have seen. I particularly like the discussion of what influences choice of alterations.
Aw, thanks, Steve!
great explanations, very clear
As an alternative to the BBC in the first measure of "Body & Soul", you could also play a Bdim/Eb, yes? It's an illustration of the "borrowing"
technique in Barry Harris' 6th Diminished scale.
Jeremy … your “101” videos are sooooo good. Please do more of them.
Thank you, Allan!
Wonderfully explained as always. Many thanks, Jeremy.
You're most welcome, Stuart! I appreciate your comment!
Your videos are very instrumental in giving necessary and practical details about jazz piano than most youtube clips that leave people hanging!
Jeremy this is the most useful explanation I have ever heard. Thank you
Wow, I'm so happy to hear that. Thank you, Fredrick!
8:02 I keep hearing Ruby my dear in your lesson. Must have a lot of altered dominants and 25s
Thanx, Jeremy 🌹🌹🌹🔥
Thanks, as always, Brenda! I appreciate it!
As usual your explanation is clear and uncluttered Jeremy. I've tried many ways to explain this to students over the years, but I doubt they ended up as unambiguous and well structured as yours. I salute you. BTW I asked Noah Kellman about the #5 vs b13 thing a few months ago and he said the same as you - if you have a b13, it's fine to include the natural fifth. This isn't something I'd really thought about until I started learning piano recently, but it means you can play root/fifth in the left hand. For what it's worth my favourite combo has always been #5/b9, and using the harmonic minor scale. Sounds great on any instrument. I first heard this chord when I was 12, listening to Steely Dan's Black Cow. It's the first chord after the initial C13 vamp and it sounds wonderful (A7 #5/b9), expecially with the vocal harmony. Also interesting is that they use a #9 chord shortly after, which doesn't resolve. You probably know the sequence, but it goes C13 (vamp), followed by
C13 / A7(#5/b9) / | Dm9 / / / | E7(#9) / / / | Ebmaj7 / / / | C13....
Thanks much, Chris! I’ve never gotten into Steely Dan, but I’ll add it to the list. :)
@@JeremySiskind here you go Jeremy. Hope you like it: th-cam.com/video/JzrDs_Vaho4/w-d-xo.html
Thanks Jeremy - yet another great video. One question - you warn against clashing with the melody. Can you elaborate on that? What intervals are you talking about?
Hey Jonny. Thanks for checking it out! Two main points of reference for a “clash” - #1 your ear! Listen and see if it bothers you. #2 half-steps. If the new altered tone you’re creating is a half-step away from an important melody note (or a half-step plus an octave, etc), chances are that it’s going to cause a clash. I hope that helps!
@@JeremySiskind it does - thanks Jeremy!
Another Great Video . . . Jeremy you really explained inter-mixing altered 9ths and 5ths very thoroughly. Thank you so much!
Yay - thanks so much! I'm glad it helps!
yikes! so much great info. I understand, but no way I could ever remember or apply without years of practice! Thanks!
Yeah, the years of practice can’t be avoided…unfortunately…but I believe in you!
Thanks !
My pleasure, Al!
Fantastic!
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