Better Basic Piano Chords
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- เผยแพร่เมื่อ 18 ก.พ. 2021
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Good stuff, thanks for what you do!
Learning different feels and different options for arranging a chord/progression would be great to see some videos on!
Thank you Adam you're Crystal clear from here greeting from Aalborg Denmark
this is the clarity I (we) need
Amazing! Exactly my level. Thanks, Adam.
Great info, thanks. Have been following open studio for a few weeks. You guys are great and are really helpful as I spend my retirement isolated!!!
This is amazing
Great great tutorial !!!
This is awesome stuff.
Simply amazing.
This class is gem. Love it❤
genius! thanks a lot man
Dear pal, Maness, I really enjoy your practise sesh. Thanl you for this program as well.
Great teaching Adam! Good foundational stuff for musicians to know!
Full of info for a non piano player gives me a good look at improvising on my horn as a beginner that is
Thanx, Maestro 🌹🌹🌹😎
This is such a great breakdown, thank you. I am relatively new to jazz, which is so different from classical, which tells you every note to play. This is a great walk through of ways to interpret and play fake book music.
Pretty awesome
Good stuff.
Great lesson Adam! Maybe you could explain more in detail R+S+P and give some more examples as to how to split the hands between LH -bass/shell and RH voicing/melody
Great intro rap!
Accidental puns are the best puns ! xD
That is great. It would be very useful to have the camera o your hands while playing melody over the chords :)
iIve only been playing piano for a year, but you totally explained this in a way I can understand and start using. Thank you!
Since one year ? How did you train since ? I did start to play piano since 3 months now just getting ok with 2 hands together at least was hard step to overcome but am getting slowly into it .. any book you wd recommend which was beneficial for you ... ? Thanks 🙏🏽
@@Kassiusday i bought the Alfred's Adult Beginners books, all three of them. I'm still working through the last one. About 4-5 months for each book. I get up in the morning and play for 30 minutes when I can. I forced myself to learn Musette perfectly, but that was the only one. It took close to a month to get that one right consistently. I normally spent a 4-7 days per song, depending on whether I liked it, and if I feel I'm advancing by learning it. My left hand just kind of started doing what it was supposed to sort of independently around month 9 maybe? These are simple bass parts I'm talking about. And it's still much harder to play two hands than one hand.
I also used to play guitar, so I understand chord structure and inversions. So when he talks about 6ths and 7ths, I understand that. I understand the underlying scales that he talks about. At a very basic level I can play along with what he's doing and understand why he's doing what he's doing.
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crimson blue?
Your color coding is similar to mine but I made the three major triads in one key the three primary colors. Red for the I chord because it's the top of the visual spectrum, yellow for the IV chord because it's related to the brightest mode, Lydian but I made the V chord blue because of the Mixolydian relationship with the blues. With the VIm containing tones from both the I and IV, it was assigned orange. The IIIm contains I chord and V chord tones, making it purple, the darkest color, commonly associated with mystery, the unknown, etc, that works out perfectly. The IIm contains some IV and V7 tones, making it green, the color of nature, which I love because Dorian is one of those few modes where literally any note can be treated as a stable landing point making it an incredibly natural mode to work with. I still don't know what to do with the VIIm7b5, as for color. Magenta, maybe?
Bar 6, the last note is Db, not D. Otherwise, thanks for everything
Hehe that’s a famous question. Billy Strayhorn certainly plays that squeezy d flat, but Ella Fitzgerald when performing with Duke Ellington happily sings a d. Oscar Peterson also has d natural, I think. If the legends don’t worry about it, should we, really?
Not sure about the chord-relevance of step 2. Any note in the scale doesn’t quite work. Maybe there should be a step 1.5 where you talk about the few (at least 1) note that requires care.
I feel like, 'any note in the scale' kind of works, and some notes better than others, which I think is your point. But how deep do we need him to go at this level? Maybe a future video can talk about step 1.5?
@@DThompson55
If you listen a lot to jazz played by competent musicians, an unresolved F against a CMaj7 should be offensive to the ear and does not provide the encouraging motivation required to move forward. If you are assaulting your own ears while practicing, you are working against your own self interests. You want to develop practice ethics which dictate that what you practice is what you play.
@@ronaskew i clearly have much to learn
@@DThompson55
So have we all.
@@DThompson55
You don’t have to go very deep to get to the most important issue in music; respect for the ear. Teachers have to gloss over a lot of detail when presenting information. But to simply announce that all tones work over all chords is taking the, already problematic, chord/scale relationship approach to teaching jazz to a new low.
As a horn player piano player and bassist I highly recommend piano players to really really really keep it simple. Just play the three and seven. Sometimes just play the three. Sometimes don’t play at all. Leave note choices to this soloist. If an altered note like a flat nine is in the melody then you can play that but you don’t need to. Same thing with the G# on the D7b5. DO NOT PLAY ANYTHING OTHER THAN F# AND C . Let the soloist decide the scale he/she wants to use. If you hear them play diminished whole tone then yeah go ahead and throw in a b9 or #9 #11,b13 ....whatever. Just show some respect for the soloist. Listen to Paul Desmond, Gerry Mulligan, and Chet Baker. Notice how Dave Brubeck usually lays out or really minimizes his playing when Desmond is soloing.
Thanks! Great advice.
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Perfect advice. But as a soloist, you may make different choices, obviously.
Certainly for playing in a band
as a soloist, you can superimpose your scale on top of the harmony, listen to Diz n Bird n Monk n Miles n Coltrane n Scofoss ...