As a 'fan' --aka very deep listener to Coltrane, and saxophone student for the past 55 years . . . your unpacking here is pure absolute platinum gold to me. I thank you.
It's amazing how the blues was a constant, even in his most innovative, "out" playing. A true master of substitution that went against all fundamental standards.
Thanks a lot for this session! McCoy and Horace Silver are my two favorite pianists. Although Horace is overlooked by youtube jazz educators, I am glad that McCoy's expressions and sense of harmony are taught and explained. I just hope one day, similar attention and care will be brought to Horace's legacy
I'm so glad You are appreciative of what My Uncle shares💥 Although his physical body has Graduated from this realm of existence, his astounding impact eloquently slings Us all through Magnificent Journeys that some never even dream of !!!!! ELOQUENT!!!!! EXQUISITE🤩🌠🤗💖
I hear the Ab. Helps to listen to the sound of F in the previous chord moving as a voice to the Ab. I think the reason he does that is it has that grounded minor 3rd leap instead of the less grounded major second step which takes it more into subdominant/dominant territory if we are being super specific and ridiculously theoretical lol.
Great lesson, thank you for zeroing in on such a cool line. McCoy is the s--t!!! Seems like one has to think of very broad strokes - Gb = C :-). If you go to Dizzy Gillepie's "BEBOP" intro line (and way back - Carl Phillip Emmanuel Bachs "Solfegggio" LOL), you get lines that razzle I-V-I-V etc. It helps things stay afloat.
This is as much a rhythm study, as a melodic study as a harmonic study. It seems that the genius of Mc Coy is the art of juggling simultaneous metamorphoses between these elements. Within each of these musical domains there are subsystems (e.g. how the first 3 notes anticipate the first measure which anticipates the shift to the key center of F-. That is: anticipation of the anticipation) As well, this rhythmic learning can be extrapolated to different musical contexts. E.g., this is in 3/4. This approach can be extrapolated to a 4/4 as a 3:4 parallel cross-rhythm. And this is just 30 seconds of improvised playing from the Heart and Mind of McCoy. Wow.
Why not Gb7 instead of the C7alt starting in the 2nd half of bar 1? The left hand voicing in bar 2 is a standard Gb13 voicing: 7-3-13. The RH outlines a Gb7#11. This fits McCoy’s propensity to move in half steps.
Was always curious about these voicings in the left hand. Often people say “it’s 4ths”. That’s wrong. It’s much more complex than that. Really helpful to have you guys with the golden ear write it down
This is just brilliant. TBH I'm still supposed to be trying to get that Clifford Brien solo you posted at least vaguely right but I think I might take a break and give this a go. It looks like a blast and possibly more my tempo. Thanks so much for doing these videos, they're such a brilliant resource.
Uncle Dynamically Transcends Spiritual, Scientific, Technological, Ephemerality, and Every Dimension known to Man & those yet to be discovered💥💖💥 All done with divine humblenses & grace😎👊🏾👊🤗🤩
All i hear is Bb, Db, Fb. But it makes perfect sense to chord it as Gb, Bb, Db, Fb . The Gb is implied but not heard (* It's also in the perfect shape of the surrounding chords for the chromatic slides he's playing). So , no Ab needed
Tremendous, man. The rhythmic placement of that chord on the & of 3 of the 2nd bar is wild. When you play along you're tending to delay that till 1 of the next bar. This is so helpful though, thanks, man.
Aha! Correct me if wrong, he’s mostly doing a a kind of cross rhythm in the left hand (the 3/2 eg ‘nice cup of tea’ eg his left hand is doing the ‘nice...of’ duple metre... but! He’s thinking of the pulse in triple metre, doing the ‘nice cup ...tea’ part eg 1 2 3/ 4 1 2/ 3 4 1/ 2 3 4/1 2 3/ 4 1 2/ 3 4... Oh! Whoops, the metre is 3/4 🤣
The chord in question in your sheet music is Rachmaninov subdominant (transposed), this is what Russians know it by. And I don’t hear it, TBH, it’s rather a diminished to me.
@@PlayBetterJazz He does not even know himself what he is talking about ! Proud to show his poo to everyone ! Proud to show that he is a moron. Funny and pathetic same time.
![How to Sound Like McCoy Tyner: Pentatonics & Melodic Cells for Sick Lines [Jazz Piano Tutorial]](/img/n.gif)
As a 'fan' --aka very deep listener to Coltrane, and saxophone student for the past 55 years . . . your unpacking here is pure absolute platinum gold to me. I thank you.
It's amazing how the blues was a constant, even in his most innovative, "out" playing. A true master of substitution that went against all fundamental standards.
Thanks a lot for this session! McCoy and Horace Silver are my two favorite pianists.
Although Horace is overlooked by youtube jazz educators, I am glad that McCoy's expressions and sense of harmony are taught and explained. I just hope one day, similar attention and care will be brought to Horace's legacy
It's amazing how McCoy played those power chords together with quartals, minors, dominants etc - all in his left hand!
Man, I've been waiting 20 years for this video. Thank you.
where would we be without these wonderful jazz masters, nothing like it being played today..
I've been getting sooo much out of these guided practice sessions that teach solos and phrases from the greats lately. Keep em coming please
I'm so glad You are appreciative of what My Uncle shares💥 Although his physical body has Graduated from this realm of existence, his astounding impact eloquently slings Us all through Magnificent Journeys that some never even dream of !!!!! ELOQUENT!!!!! EXQUISITE🤩🌠🤗💖
What i mostly learned here is your thought process on how to transcribe a song, any song. Thank you
I hear the Ab. Helps to listen to the sound of F in the previous chord moving as a voice to the Ab. I think the reason he does that is it has that grounded minor 3rd leap instead of the less grounded major second step which takes it more into subdominant/dominant territory if we are being super specific and ridiculously theoretical lol.
Great lesson, thank you for zeroing in on such a cool line. McCoy is the s--t!!! Seems like one has to think of very broad strokes - Gb = C :-). If you go to Dizzy Gillepie's "BEBOP" intro line (and way back - Carl Phillip Emmanuel Bachs "Solfegggio" LOL), you get lines that razzle I-V-I-V etc. It helps things stay afloat.
It all works better if you have a guy leaning on the piano with a pipe in his hand wearing a cardigan sweater.
This is as much a rhythm study, as a melodic study as a harmonic study.
It seems that the genius of Mc Coy is the art of juggling simultaneous metamorphoses between these elements.
Within each of these musical domains there are subsystems (e.g. how the first 3 notes anticipate the first measure which anticipates the shift to the key center of F-. That is: anticipation of the anticipation)
As well, this rhythmic learning can be extrapolated to different musical contexts. E.g., this is in 3/4. This approach can be extrapolated to a 4/4 as a 3:4 parallel cross-rhythm.
And this is just 30 seconds of improvised playing from the Heart and Mind of McCoy.
Wow.
This is great. I love watching transposing done in real time. Let's do more of these 👍🏾🎵🎺🎹🎸🎷🎼🎻
The Sonny Rollins Jazz Casual Episode is incredible, Jim Hall on guitar
Why not Gb7 instead of the C7alt starting in the 2nd half of bar 1? The left hand voicing in bar 2 is a standard Gb13 voicing: 7-3-13. The RH outlines a Gb7#11. This fits McCoy’s propensity to move in half steps.
absolutly agree !
7:31 THIS IS WHAT I WANNA SEE!!! great vid
bit advanced for me yet, but saving for the future. Love Tyner!
Was always curious about these voicings in the left hand. Often people say “it’s 4ths”. That’s wrong. It’s much more complex than that. Really helpful to have you guys with the golden ear write it down
The left hand chord in the second half of bar 4 could be read as a C7b9#5 without the root.
It's also Dbmi6, Bbm7b5 or F#9 without the root.
This breakdown is so cool! Incredibly instructional, even for those of us who are ignorant dabblers
I learned a lot from this episode. Thanks a lot! 🙏
This is just brilliant. TBH I'm still supposed to be trying to get that Clifford Brien solo you posted at least vaguely right but I think I might take a break and give this a go. It looks like a blast and possibly more my tempo. Thanks so much for doing these videos, they're such a brilliant resource.
Been having soo much fun with that one! I think it’s ok to take a break and come back from stuff.
Also a great way to start thinking about rhythm (3:2, 4:3 etc)
Thank you from Japan
Awesome video
More McCoy Adam please! Thank you
Thanks a lot Profesor!!!!!!
So helpful, thanks a lot!
Thanx, Adam🌹🌹🌹
Thank you man
Thank you for the video !Diminish chord I think
Deus abençoe
14:46 there's nothing, no g or a flat, it's a diminished 5 nicely open to both possibilities
Also makes sense given all of the accompaniment is made up of 3 notes. 4 would make it unnecessarily heavy I think
Great.
Nice one
Highly recommend Aimee Noltle's video 'Anticipatory Pentatonics' which covers Tyner and his solo on Coltrane's 'new' album.
could we have sessions like that for saxophone in Open Studio ?
oh man Tyner is unreal
Uncle Dynamically Transcends Spiritual, Scientific, Technological, Ephemerality, and Every Dimension known to Man & those yet to be discovered💥💖💥 All done with divine humblenses & grace😎👊🏾👊🤗🤩
@@habibahas13.....what are you smoking?
Love the guy with the pipe...
Mcoy at that time was much younger at that time in his life than everyone in the Open Studio!
Fantastic..
You rock man
14:40, I don't hear G or Ab
The Db7 is just a plain Tritone sub at that place, right?
How can i make slowly the way you are making!!!!!
When the camera's autofocus is more interested in the mic than the person speaking into it 😂
I just auditioned with Impressions so this video could have not come at a better time:)
All i hear is Bb, Db, Fb.
But it makes perfect sense to chord it as Gb, Bb, Db, Fb . The Gb is implied but not heard (* It's also in the perfect shape of the surrounding chords for the chromatic slides he's playing).
So , no Ab needed
yeahhhhhh buddy!
It’s Bb half diminished
in the first example Dalt ... not Calt
Tremendous, man. The rhythmic placement of that chord on the & of 3 of the 2nd bar is wild. When you play along you're tending to delay that till 1 of the next bar. This is so helpful though, thanks, man.
oh man then later on you nail that too.
At the risk of being traditional, the Db7 is a straight ahead It+6, and if you consider the G at the end of bar 3 as anticipation, its a Fr+6.
👍
🤜
Aha! Correct me if wrong, he’s mostly doing a a kind of cross rhythm in the left hand (the 3/2 eg ‘nice cup of tea’ eg his left hand is doing the ‘nice...of’ duple metre... but! He’s thinking of the pulse in triple metre, doing the ‘nice cup ...tea’ part eg 1 2 3/ 4 1 2/ 3 4 1/ 2 3 4/1 2 3/ 4 1 2/ 3 4...
Oh! Whoops, the metre is 3/4 🤣
I counted 40+ min video
The chord in question in your sheet music is Rachmaninov subdominant (transposed), this is what Russians know it by. And I don’t hear it, TBH, it’s rather a diminished to me.
It's Bb half diminished, minor 7th flat 5, which is also Dbmi6, F#9 or C7b9#5, which was probably what he was thinking
You folks think you know. YOU DON'T KNOW. IN FACT, YOU DON'T HAVE A CLUE.
What do you mean, what are you even talking about?
@@PlayBetterJazz He does not even know himself what he is talking about ! Proud to show his poo to everyone ! Proud to show that he is a moron. Funny and pathetic same time.
So please show us the truth ! 🤣😂 !
Are You speaking on a Spiritual Level? 😏
@habibahas13 Black Classical Music...not Jazz.
To me It is really a Ab on that chord
This video like way longer than 15 mins