Finally, someone explains advanced concepts to advanced musicians without wasting time explaining what a scale or chord, or progression is. SUBSCRIBED!
This video is mind-blowing for horn players. It shows the structure of the sounds many of us are looking for. In this respect, a pianist's perspective is far better than any studies for single-note instruments. It sounds great, too! It will take a long long time to absorb and internalize, but it will be worth it. Thank you. I signed up.
Complicated simplified. Yet the harmony is transformed from the simple vanilla to rich, complex chords. Inversely proportional mutation just got seamlessly better 👍Tòns of thanks!
loving this tutorial!! ive always wanted to learn upper structures to sort of imitate bill evans's style and your tutorial was simple and organised enough and super easy to understand
“infamous” Autumn Leaves? Infamous means disreputable. Great lesson. It’s easy to remember which upper structures to apply: major triads with roots taken from the 9 of the dominant chord you’re voicing plus the one with a root on the flat 13. So, in C7. Take triads with roots on D, F#, A plus the Ab
Some nagging questions I've had for (checking watch) 60 years about what makes jazz sounds work were answered by this video. That's an itch that's been waiting to be scratched forever. Resolved: I need to work on all inversions of all major triads.
Not a C13b9, the third one….for that to be the case you would need an A natural (13) and a C# (Db-b9). You have an Ab (G#) which is a #5th and a B maj which is a major 7th, as you already have a Bb to make the C a 7th chord, to avoid confusion with the two different B intervals I would call this a ‘slash’ chord C7/E.
Thanks! So I'm reading chega de saudade (No more Blues) from the real book-- the head reads D- D-7/C E7/B E..... Can I use an upper structure chord based on E on the E7/B? Thanks for the input!
In the lesson at about 10 minutes in, you demonstrate the Gb13. When I see that written on a sheet of music, how can I know its the thirteenth of Gb and not a G with a flattened thirteen? This same confusion might also apply to other chords notated similarly.
Excellent video 👍 Question; do you know who invented jazz upper structures, or who was the first to use them? Were they played as early as Duke Ellington or Bud Powell? I seem to recall only first hearing these voicings played by Bill Evans. (Asking for my students who always ask this question). Thanks
Thank you for the excellent tutorial. I think you have staff notation errors for the C13(b9) chord in the first frame around 0:30 and the second frame around 1:00. I see later that sometimes it is spelled with C3 to emphasize the “major triad” and sometimes with Dd for the flat 9. Are both generally used?
Fantastica spiegazione molto più chiara di tante altre presenti nel web; purtroppo non è facile per me seguire dai sottotitoli in italiano ma vorrei tanto chiedere gentilmente se è possibile seguire una lezione come questa relativamente alle upper structures applicabili anche agli accordi maggiori e minori all'interno di un turn around tipo 1 6 2 5 1. Grazie infinite e complimenti.
Thanks for a great video!! Wondering... if the melody is on the fifth note in the chord, what’s your suggestion of voicing? Can’t find a nice one from this template, or should I go on and 7 and 9 to the upper chords to find my way back to the melody? (Is a little bit lost haha)
I thought about this also, but I got to think as long as the fifth belongs to the chord, you have to choose upper structure that will sound good and put the fifth note above it, with some little tricks.
Hi Erik 👋🏻 Good question! An important point to understand is that we don't have to use an upper structure triad for every dominant chord. In fact, if we did this for every dominant chord our playing might start to sound a little predictable and repetitive. Variety is key in the voicings we choose. Sometimes just the root, 3rd, and 7th of the chord can sound great. Sometimes just an unaltered voicing will sound more appropriate for example the 5th in the melody and the unaltered 9th below. Halfway between and unaltered voicing and an upper structure voicing could be to play the 5th in the melody and a single alteration underneath such as the b9. This can create an interesting altered flavour in a more subtle manner than a full upper structure. A final option would be to alter the melody note or rephrase the melody so that we can apply upper structures containing other chord tones. Just some ideas! :--) Ultimately, once we have a knowledge and appreciation for the sound of each option we can then make more informed decisions on the type of voicing to play. The options are: - simple chord tones R-3-7 - extended dominant voicing with 9th/13th - single or double note alterations using b9/#9/#11/#5 - full upper structure voicings You can check out our chord voicing syllabus for more information - www.pianogroove.com/syllabuses/chord-voicings/ Hope this helps and enjoy playing around with this stuff! Cheers PianoGroove
I finally have a great teacher this month and you brother, are so cool... I tried this in my phone and I feel that next time I sit down on the piano, things are going to change. Thank you very much
this was probably the most useful jazz piano content I've seen so far
Me too.
Yeah, I agree
I agree
I agree
Yeah
Finally, someone explains advanced concepts to advanced musicians without wasting time explaining what a scale or chord, or progression is. SUBSCRIBED!
if there would be a Jazz tutorial Nobel Prize you would deserve it!
The most focused and transparent explanation of this approach - and very musically
This video is mind-blowing for horn players. It shows the structure of the sounds many of us are looking for. In this respect, a pianist's perspective is far better than any studies for single-note instruments. It sounds great, too! It will take a long long time to absorb and internalize, but it will be worth it. Thank you. I signed up.
Complicated simplified. Yet the harmony is transformed from the simple vanilla to rich, complex chords. Inversely proportional mutation just got seamlessly better 👍Tòns of thanks!
loving this tutorial!! ive always wanted to learn upper structures to sort of imitate bill evans's style and your tutorial was simple and organised enough and super easy to understand
This was such a useful lesson. I will watch. Over and over and play along until I can match it up along with the sheet music
Its fantastic. and the chart has helped a lot!!!
In fact one of the best tutorials for Jazz Piano Voicings
Insightful and very clear explanation!!! I love it.
Thanks for this very nice video! Please make more tutorials on chord voicings for common jazz standards!
This is the most detailed and thorough lesson I have ever come across on TH-cam.. Thank you so much!!!!
Mind altering information. Truly valuable insights. Thank you.
This is so beyond-words outstanding. Thank you for this.
Thank you so much! Such a clwar and informative explanation! Wish I had such a teacher a couple of decades ago!...
Chiaro, conciso, tecnicamente ineccepibile: chapeau !
amazed by the quality that you give !! this is a reel must have ! thanks so much !
I adore it!! Very useful, and well explained
Best explanation of upper structure triads. Thanks.
Just awesome music........I learned so much.......pure brilliance.
“infamous” Autumn Leaves? Infamous means disreputable. Great lesson. It’s easy to remember which upper structures to apply: major triads with roots taken from the 9 of the dominant chord you’re voicing plus the one with a root on the flat 13.
So, in C7. Take triads with roots on D, F#, A plus the Ab
I m from a little town from mexico. Very very very good thank so much
Too beautiful for words.........
Some nagging questions I've had for (checking watch) 60 years about what makes jazz sounds work were answered by this video. That's an itch that's been waiting to be scratched forever. Resolved: I need to work on all inversions of all major triads.
Thank you for the video and information you share with us! It's absolutely amazing! Greetings from Peru 🇵🇪 😃 I hope you're keeping well!
There is a small mistake in the written transcription. The C13(b9) should have a Db on top instead of a Cb
And an A natural, not Ab at 1.06
Yeah u gotta fix this man. Tutorial vids need to be reviewed myriad times for perfection. They have to be 100%. Always.
I noticed that mistake, too.
I thought I was going crazy! Not a small mistake
@@Ernie_Centofanti SO DID I!!1 THATS how bright i am lol lol lol LOL1
Piano lesson of the year
Very cool sound for this modern world. Thanks.
Really enjoyed this very clear an concise, thanks
Misty with upper structure approach is beautiful
Indeed! Try applying these voicings to other jazz standards and you will hear they sound fantastic. Cheers! PianoGroove
I would listen to these beautiful lessons and arrangements even If I didn't play piano.
This is a helpful lesson; thanks for the clear explanation, the best I have found on this topic.
Very informative! Loved the Upper Structure Chart
Very useful thanks so much
Thank you for the insight of wisdom
Awesome! By the way, I also want to include Jimi Hendrix chord in the UST category.
For example, C7(#9) =E♭/C7
Hi Hayden....
I very like your lessons. Are Very comprehensive.
Hugs..
Thanks Pedro!
@@PianoGroove I Always see your classes.
A good to get away from just using "vanilla chords". Thank you David🎹🎼🎹🎼🎹
This is a great lesson. Makes so much sense. Thank you
Great stuff, very well explained.
loved it, thanks for the simple and clean explanation.
Very nice, you are such a gifted teacher
Not a C13b9, the third one….for that to be the case you would need an A natural (13) and a C# (Db-b9). You have an Ab (G#) which is a #5th and a B maj which is a major 7th, as you already have a Bb to make the C a 7th chord, to avoid confusion with the two different B intervals I would call this a ‘slash’ chord C7/E.
Amazing video and content - informative and inspiring 💎⭐️😊
This is GREAT !!! I’m so thankfull !
☺️
🙏
Thank you so much ! I have been struggling with these topics. So well explained with perfect pace for me
One of my favorite and excellent YT JAZZ music sites! ❤️
Do you have a video discussing chord textures and how to create them?
Best video on this topic. Thank you!
damn, an actually good online educational resource for jazz. amazing!
Very instructive tutorial. Many thanks
Gracias por la enseñanza!! Saludos desde México 🇲🇽
Very nice
Fantastic! congratulations!
What is the name of the program you use to show the keyboard on the key, with musical notes ?? Thank you! hugs!
You are a godsend.
Thanks for this.. I thought you left TH-cam
Thank you
Best tutorial ever.. thank you!
you are good sir...thanks
Wow you are the best!!!! Thaks
that's a fantastic video !! Thanks a lot
Can you help me understand why you used the C mixolydian scale for reference? Is this because it contains the flat 7 of the dominant? Many thanks
Awesome vid👍🏼
Excellent, but I don´t understand why you play E , A and C# in the 3rd example......it is wrong written? Minute1:06
I think, there is a mistake.
Thanks! So I'm reading chega de saudade (No more Blues) from the real book-- the head reads D- D-7/C E7/B E..... Can I use an upper structure chord based on E on the E7/B? Thanks for the input!
Hi Chaps, brilliant video, pls do more about applying this info to standards, tho note earlier comment about typos re C13b9
Nice tutorial ❤️❤️❤️
I have learn a lot! Txs
Really awesome, thanks !!
I like your lessons. Do an of your lessons deal with improvisation?
If I may ask a question, about when you refer to the scale as the mixolydian mode-in C7.
Isn’t the mixolydian mode of a C Major chord G-G?
Gorgeous
Great lesson
In the lesson at about 10 minutes in, you demonstrate the Gb13. When I see that written on a sheet of music, how can I know its the thirteenth of Gb and not a G with a flattened thirteen? This same confusion might also apply to other chords notated similarly.
Fantastic great explanation
Muchas gracias, muy buen material para estudiar.
Thank you so much sir I like your videos
Best 2 5 1 ihad see so far 👍
Excellent video 👍 Question; do you know who invented jazz upper structures, or who was the first to use them? Were they played as early as Duke Ellington or Bud Powell? I seem to recall only first hearing these voicings played by Bill Evans. (Asking for my students who always ask this question). Thanks
Thank you so very much!! It's really helpful👍🎶🎶
Thank you for the excellent tutorial. I think you have staff notation errors for the C13(b9) chord in the first frame around 0:30 and the second frame around 1:00. I see later that sometimes it is spelled with C3 to emphasize the “major triad” and sometimes with Dd for the flat 9. Are both generally used?
fantastic stuff
Wow you are a blessing
Great knowledge. Thank you sir
Спасибо за очень полезную информацию
Excellent!
At 1.06 there is an error on pentagramm
The correct notes are on the piano but not on the C13b9
Hello.
What program are you using for the video?
Very useful!! There is a little mistake @1:05 C13(b9) that you play correct.. it is not correct on the score
why did u use the myxolydian scale to pick out the upper structure triad?
Why can't you have both #9 #11 and b9 b13？
Thanks I just want to is this true even for minor chords
Is there another video that goes over how you come up with all those top line melodies around the 2 5 1?
Fantastica spiegazione molto più chiara di tante altre presenti nel web; purtroppo non è facile per me seguire dai sottotitoli in italiano ma vorrei tanto chiedere gentilmente se è possibile seguire una lezione come questa relativamente alle upper structures applicabili anche agli accordi maggiori e minori all'interno di un turn around tipo 1 6 2 5 1. Grazie infinite e complimenti.
Thanks for a great video!! Wondering... if the melody is on the fifth note in the chord, what’s your suggestion of voicing? Can’t find a nice one from this template, or should I go on and 7 and 9 to the upper chords to find my way back to the melody? (Is a little bit lost haha)
I thought about this also, but I got to think as long as the fifth belongs to the chord, you have to choose upper structure that will sound good and put the fifth note above it, with some little tricks.
Hi Erik 👋🏻
Good question!
An important point to understand is that we don't have to use an upper structure triad for every dominant chord. In fact, if we did this for every dominant chord our playing might start to sound a little predictable and repetitive.
Variety is key in the voicings we choose. Sometimes just the root, 3rd, and 7th of the chord can sound great. Sometimes just an unaltered voicing will sound more appropriate for example the 5th in the melody and the unaltered 9th below.
Halfway between and unaltered voicing and an upper structure voicing could be to play the 5th in the melody and a single alteration underneath such as the b9. This can create an interesting altered flavour in a more subtle manner than a full upper structure.
A final option would be to alter the melody note or rephrase the melody so that we can apply upper structures containing other chord tones. Just some ideas! :--)
Ultimately, once we have a knowledge and appreciation for the sound of each option we can then make more informed decisions on the type of voicing to play. The options are:
- simple chord tones R-3-7
- extended dominant voicing with 9th/13th
- single or double note alterations using b9/#9/#11/#5
- full upper structure voicings
You can check out our chord voicing syllabus for more information - www.pianogroove.com/syllabuses/chord-voicings/
Hope this helps and enjoy playing around with this stuff!
Cheers
PianoGroove
I finally have a great teacher this month and you brother, are so cool... I tried this in my phone and I feel that next time I sit down on the piano, things are going to change.
Thank you very much
Thanks a lot! That’s how I play it right now also! Thanks for great input! Wish you a lovely summer!!
This is great
What about upper structures on major7 chords and m7 chords?
Cool chords.
thanks!! are there also upper structure to minor chords?