THAT is the very best twenty minutes of vocational jazz piano instruction I’ve ever seen. So incredibly simple and so perfectly explained. Quartels have always been fleeting, passing moves for me. This tutorial gives me something to latch onto, to put me into the throws of something broader, ultimately giving birth to both new voice and new rhythm! A watershed moment here and I thank you!!!!
This is what I consider brilliant educational instruction. He’s always gonna make me work, but with loads of energy, inspiration, and value. That’s Peter Martin. Thanks, brother!
Wow! Now I hear it and understand it! When he said he wasn’t really playing “out” but it sounds like it while sticking to the minor pentatonic I was like 🤯🤯
Man, I know the feeling, this kind of stuff is like magic from another realm as a guitar player. We have an advantage that we can bend, trill and slur to taste but the voicing and substitution aspect is a challenge.
But the nice thing is that these chords come so easy to the guitar as tuning of at least the bottom 4 strings are fourths (or well, if you use a standard tuning that is). The regular quartal voicings can be done with just one finger on those strings. When using the D-string as the starting point it's either 2 fingers (incorporating the B-string) or just three (using the E-string). The crunchy derivatives are not difficult either.
At last - Some detailed left-hand "McCoy Tyner" voicings! I've been practicing, last three days, Peter Martin's 60 second short on Pentatonics (Open Studio) and had started cracking the left hand movements by repeated viewings; but now here it is, all precisely laid out. Everything in this video works with the Eb (or C-) Pent scale, making this the perfect foundation for study in all keys. Thank you Peter!
I feel like I reached the promised Land!!!!! I have been searching for someone to explain Quartal Harmony to me for years - and more so, how it works. Thank you so much!! I am an Open Studio member and have been doing your courses. Now I have what to work on. Thanks a gazillion!
Hip insider stuff !! Thanks a lot !! All the “crunchy” 4ths appear to act as the original 4ths dominant. So functional and cool. A whole world of possibilities opens !! Great inspiring playing there..!!
Yup, it's great because they are the same voicings as the shell for the #9 chord (a lot of them), and since the #9 is in both that chord and the scale of the tonal center, it makes total sense as a sub. So logical while deriving something still inspired-sounding, creative and hip! Which I think are the cross streets jazz lives at
Like Db-G-C is a rootless Eb7(13) which is a sibling of C7b9, and even that C dominant sound gets along with Cmin/Ebmaj pentatonic, because Eb is a blue note to C.
Wonderful, Peter! I wanted to understand this stuff, this McCoy Tyner language, for a long time. You present it clearly and beautifully - you own it! Thank you for this!
Great teaching style, thank you! Could you reveal how you play an actual grand piano but have the keyboard on your video with the played notes highlighted?
You are a great instructor. Making seemingly complicated music concepts actually easy to relate to. Encouraging those who hit a titanic musical ice to break through it and find other possibilities…but actually existing already… Thank you so much!
Well that is cool. The newly included non - diatonic notes (C# E F# G# B) spell a C#- pentatonic scale which, being up a semitone, account for the chord's 'crunch'.
Very Cool video! It makes me wanna go to the storage, take out that grand piano, bring it home and start doing scales again. If it wasn’t because every time I see the piano it scares me so much I can’t even open the lid. Oh well… I did enjoy this video a lot Thank you 🙏
New to music studies and curious to learn more at my own pace. Great to be here to learn from this content, and not build relationships or engage in dialogue.
5 crunchy quartals 1. 4:17 2nd, lowering root Db G C 2. 5:25 4th, lowering root Fb Bb Eb 3. 6:00 5th, lowering root Gb C F 4. 6:28 6th, lowering root & 4th Ab Db G 5. 7:22 Root, lowering root Cb F, Bb (aka G7#9) Naturally occurring mini crunchy quartals in Cm dorian 1. 2:51 3rd, Eb A D 2. 3:15 7th, Bb Eb A
My theory of how these alterations come to be is that they are highlighting Gb7 and its chord scale Gb mixolydian. It doesn't matter if you play C or Cb because C would imply Gb lydian scale
Great great video! simple and straight to the point and that's a beautiful way to use those 4th's sonorities. So simple yet sounds excellent, even just this without playing or changing the positions and voicings of the quartal chords. Thanks very much for sharing
It's interesting, and very useful to some pianists, I'm sure. It fits into straight ahead playing and maybe into some other styles, but it is not for every jazz pianist - there are so many styles!
That was great, Peter. Great lesson on the inside quartals. Meaty and crunchy. What I'd love to see next from you is the same lesson but for the eyes-rolling-back-in-the-head outside quartals, -the insane McCoy stuff. I knew there was a structure to the inside quartals, but is there a similar theoretical framework for the eye-rolling demonic possession outside quartals that you can make sense of?
Yeah I like these quartals, one of the most jazzy sounds ever. I think this happens because of their ambiguity: the ear asks itself "where is the 3rd, if ever?" or viceversa "are they sus chords?", or "are they enharmonically equivalent" and so on. Btw if for the sake of simplicity we admit raw enharmonical interchange the construction of those chords can be traced back to just three combinations: 1) perfect 4th + perfect 4th; 2) augmented 4th + perfect 4th; 3) perfect 4th + augmented 4th. At least, I tend to think this way while I (try to) play those. Great lesson by Peter here!
I think you can also try shifting upper notes up... or doing Aug4 + Aug 4. So still with Cmin pentatonic right hand, on the 4 voicing left hand plays F Bnatural Enatural. And that can move chromatically up or down from there all the way down to Db. Then switch the D or second degree voicing to the regular perfect 4th voicing and you can go back to diatonic sound.
Sorry not aug4th + Aug fth. That would be tritone and octave. But the aug4th or tritone + the perfect 4th voicing I think could be played chromatically up and down with the Cmin or any minor pentatonic over that. This a sax player learning a bit of piano though. Another way to riff or to get to the 'out' voicing would be to keep the root and move the upper two notes up a half step. This again stretches the lower half of the voicing creating the tri-tone. So another way to think about it is to add a tri-tone to the voicing by shifting pinky down or top two fingers up. I think the piano player for Cannonball uses this sound chromatically on the live in New York or San Fansisco album. Gemini maybe? So not just McCoy.
Man, got that hack I've been hungry for. So simple and digestible, but output is sophisticated and elevating to my playing. Got it immediately thanks to clear concise teaching and a great break down. How do you do it? Working through the keys..
Gahhhhh my head exploded in the best possible way YAYYYY I say to the YAYYYYE. Thank you Peter. By the way, I love when you say doppio, are you ever gonna do a segment about the whacky grand piano that has the pedals with the second grand piano underneath you play with your feet? Pleeeeeez? That would be dope yo.
I think of these as rootless hendrix chords, or sharp 9 chords. But I like how you show the relation to the quartal diatonic voicings as alterations. For the A D G variant, why do you move the D to C# instead of keeping it at D and just lowering A to G#?
This is spectacular! I love these lessons, they are so helpful to discovering new ideas and theory with jazz. Didn't McCoy Tyner use this in Contemplation?
All about the shape, and not a scale. Makes you think of harmony as movement with all those half and whole steps. Question, Peter: Does this technique work with the inversions of quartal voicings? Instead of ADG, doing DFG or FGD and moving those inner and outer voices around?
My guess would be no. Remember he said the voicing was built from the bottom up in fourths. So if you invert it, the distances between the notes from the bottom up are no longer in fourths thus changing the tonality.
@@IN2music2 You can play inverted fourths though--that's actually what I thought the video was going to be about. Interesting to play some of Coltrane's modal melodies with inverted fourth harmony.
THAT is the very best twenty minutes of vocational jazz piano instruction I’ve ever seen. So incredibly simple and so perfectly explained. Quartels have always been fleeting, passing moves for me. This tutorial gives me something to latch onto, to put me into the throws of something broader, ultimately giving birth to both new voice and new rhythm! A watershed moment here and I thank you!!!!
The other 12 minutes must have been practicing at the keyboard 😂
Well I had to watch it several times and stop it occasionally to make notes. This is now part of my regular practice routines! ❤️
Bravo, maestro...!!!
This is what I consider brilliant educational instruction. He’s always gonna make me work, but with loads of energy, inspiration, and value. That’s Peter Martin. Thanks, brother!
Wow! Now I hear it and understand it! When he said he wasn’t really playing “out” but it sounds like it while sticking to the minor pentatonic I was like 🤯🤯
as a guitarist ive been trying to wrap my head around the logic of this sound for a while, thank you!! best jazz channel ever!!
Same exact experience as you (as a guitar player). I could hear it but had no idea what was happening. This was awesome.
Man, I know the feeling, this kind of stuff is like magic from another realm as a guitar player. We have an advantage that we can bend, trill and slur to taste but the voicing and substitution aspect is a challenge.
But the nice thing is that these chords come so easy to the guitar as tuning of at least the bottom 4 strings are fourths (or well, if you use a standard tuning that is). The regular quartal voicings can be done with just one finger on those strings. When using the D-string as the starting point it's either 2 fingers (incorporating the B-string) or just three (using the E-string). The crunchy derivatives are not difficult either.
@@santibanksExactly!
Great production value! Shoutout to whatever intern is animating the transcription hahaha
At last - Some detailed left-hand "McCoy Tyner" voicings! I've been practicing, last three days, Peter Martin's 60 second short on Pentatonics (Open Studio) and had started cracking the left hand movements by repeated viewings; but now here it is, all precisely laid out. Everything in this video works with the Eb (or C-) Pent scale, making this the perfect foundation for study in all keys. Thank you Peter!
THIS IS THE SOUND IVE BEEN SEARCHING FOR FOR YEARS AND IT IS SO SIMPLE THANK YOU FOR BRINGING THIS TO THE LIGHT GOD BLESS YOUR SOUL
Masterful teaching. As a horn player I’ve only ever recognized that sound. Now I understand it.
Man, you are so masterful at this. A great player and wonderful teacher. So grateful for you. 🙏🏻
Peter. I could talk for days about how great this is. Love the Crunch o meter! Thank you!
I never thought I'd be able to understand the basics of this jazz style. Thanks for that! Happy holidays from Marbella, Spain.
I feel like I reached the promised Land!!!!! I have been searching for someone to explain Quartal Harmony to me for years - and more so, how it works. Thank you so much!! I am an Open Studio member and have been doing your courses. Now I have what to work on. Thanks a gazillion!
I think I just broke a tooth
The best feeling
As long as your ears are ok.
LoL!
Good idea 👍
I’m gonna work on that,it sounds good !!
Thanks 😊
Captain Crunch Quartals for raw Gums.
Wow, these are GREAT! I think I usually play them by accident; really helpful to have some structure for practicing more intentionally.
Gonna send you the cleaning bill, Peter... my mind was blown by this lesson! A simple explanation of next-level material! Bravo!
🎹
Hip insider stuff !! Thanks a lot !! All the “crunchy” 4ths appear to act as the original 4ths dominant. So functional and cool. A whole world of possibilities opens !! Great inspiring playing there..!!
Yup, it's great because they are the same voicings as the shell for the #9 chord (a lot of them), and since the #9 is in both that chord and the scale of the tonal center, it makes total sense as a sub. So logical while deriving something still inspired-sounding, creative and hip! Which I think are the cross streets jazz lives at
Like Db-G-C is a rootless Eb7(13) which is a sibling of C7b9, and even that C dominant sound gets along with Cmin/Ebmaj pentatonic, because Eb is a blue note to C.
Just had an ah ha experience. Thanks.
I wish this wasn't above me! You're such an excellent teacher.
This unlocked guitar comping for me. Insane
noone ever talks about cool ways to move between these voicings thanks for this Peter !
Thanks for this. Sounds a lot like the great McCoy Tyner!
The crunch meter says guitarist approved!
Works great on guitar too; very cool. Thanks.
It works great on any harmonic instrument.
Absolute gold Peter. You never cease to amaze me. Working on the transcription now....(update 25 years later...still working on it...)
Great lesson as always. Also your production has gotten so good! I’m happy for your success
God answer prayers....thanks for your teachings ...great stuff.........
Wonderful, Peter! I wanted to understand this stuff, this McCoy Tyner language, for a long time. You present it clearly and beautifully - you own it!
Thank you for this!
Great teaching style, thank you! Could you reveal how you play an actual grand piano but have the keyboard on your video with the played notes highlighted?
Thank you for explaining a sound I've been hearing for years but never quite been able to put my finger on.
ok, best jazz piano lesson I´ve ever seen:)
You are a great instructor. Making seemingly complicated music concepts actually easy to relate to. Encouraging those who hit a titanic musical ice to break through it and find other possibilities…but actually existing already… Thank you so much!
Thanks for taking time out of your life to demonstrate this. I'm a new student of Jazz, and I really appreciate it.
Great instructional video ! Straight to the point ! It reminds me of Dave Grusin's soundtrack for the movie "The firm".
Great Christmas present! Thank you!!
Such a great tutorial...
Understandable .. The Mysteries now Lie in Quartal's/4th's Spirit
This is the BEST short lesson I’ve seen. Will definitely get my fingers working on this.😁
Well that is cool. The newly included non - diatonic notes (C# E F# G# B) spell a C#- pentatonic scale which, being up a semitone, account for the chord's 'crunch'.
Good observation!!
Good observation!
I think that may relate to why he made “crunchies” only on select positions (the 2, 4, 5 and 6 I think it was)
Accounting for the crunch isn't the problem. Accounting for why they should be played with C minor pentatonic IS.
They're also implying the c altered scale (except B which implies c harmonic minor scale)
Very Cool video!
It makes me wanna go to the storage, take out that grand piano, bring it home and start doing scales again.
If it wasn’t because every time I see the piano it scares me so much I can’t even open the lid.
Oh well…
I did enjoy this video a lot
Thank you 🙏
New to music studies and curious to learn more at my own pace. Great to be here to learn from this content, and not build relationships or engage in dialogue.
Extremely good lesson! Sitting here with a big smile on my face. And what a great piano player you are!!!
Wow instantly applicable, rare for something so hip to require such little practice to internalize, good stuff!
Wow you could feel the heat🔥🔥🔥
So you can drop the bottom note a half step if it doesn’t land you on another note in the Dorian scale. Neat!
Thank you, I was wondering why that was what they where playing
I can't stop thinking on GRP All Star Big Band Live In Japan (My Man's gone now), you should make a video on that version!
💗🎶 Perfect Force in the Sea of Dorian! Great delivery on this info nice and upbeat, succinct
Great One Peter!
This is definitely an "Oops All Berries!" Episode
Thank you so much for the lesson! Quartals have been a mystery to me until now, can’t wait to practice these crunchy quartals!
5 crunchy quartals
1. 4:17 2nd, lowering root
Db G C
2. 5:25 4th, lowering root
Fb Bb Eb
3. 6:00 5th, lowering root
Gb C F
4. 6:28 6th, lowering root & 4th
Ab Db G
5. 7:22 Root, lowering root
Cb F, Bb (aka G7#9)
Naturally occurring mini crunchy quartals in Cm dorian
1. 2:51 3rd, Eb A D
2. 3:15 7th, Bb Eb A
My theory of how these alterations come to be is that they are highlighting Gb7 and its chord scale Gb mixolydian. It doesn't matter if you play C or Cb because C would imply Gb lydian scale
Yes. To everything that is happening here, I say yes!
I’ll be transcribing this for the next month at least to get all the marrow out of it.
Get the transcription, it's fantastic. If you're not a Pro member, I bet they will send it to you if you ask nicely. They're good like that.
Mind blowing how easy you made this. Brilliant video
This was probably my favorite music lesson TH-cam. Thank you haha Please live in Boston and let me study
This is really great! I now more fully understand what I have been doing instinctively. This will help me apply it more knowledgeably. Thanks!
Wow! That’s a nice way to breakout of the limbo of P4 to add tension with the tritone using the Dorian scale
Excellent! Very useful and very well explained. Thank you Cap'n Crunch!
Peter great stuff , you’ve unlocked a long mystery for me ..many thanks
Great great video! simple and straight to the point and that's a beautiful way to use those 4th's sonorities. So simple yet sounds excellent, even just this without playing or changing the positions and voicings of the quartal chords.
Thanks very much for sharing
Very informative and clear!
Great lesson...!
Great insights and well presented concepts! Many thanks for the lesson!
It's interesting, and very useful to some pianists, I'm sure. It fits into straight ahead playing and maybe into some other styles, but it is not for every jazz pianist - there are so many styles!
just another color in the crayon box..
Fantastic!
I don’t like the modal McCoy, Callderazo, Coltrane thing, but you really are amazing at teaching and playing it …
Thank you, Brother of Grooves.🌹🌹🔥🌲🌹🌹
GRooVY / crunchy sound dude !!!
That was great, Peter. Great lesson on the inside quartals. Meaty and crunchy. What I'd love to see next from you is the same lesson but for the eyes-rolling-back-in-the-head outside quartals, -the insane McCoy stuff. I knew there was a structure to the inside quartals, but is there a similar theoretical framework for the eye-rolling demonic possession outside quartals that you can make sense of?
Yeah I like these quartals, one of the most jazzy sounds ever. I think this happens because of their ambiguity: the ear asks itself "where is the 3rd, if ever?" or viceversa "are they sus chords?", or "are they enharmonically equivalent" and so on. Btw if for the sake of simplicity we admit raw enharmonical interchange the construction of those chords can be traced back to just three combinations: 1) perfect 4th + perfect 4th; 2) augmented 4th + perfect 4th; 3) perfect 4th + augmented 4th. At least, I tend to think this way while I (try to) play those. Great lesson by Peter here!
I think you can also try shifting upper notes up... or doing Aug4 + Aug 4. So still with Cmin pentatonic right hand, on the 4 voicing left hand plays F Bnatural Enatural. And that can move chromatically up or down from there all the way down to Db. Then switch the D or second degree voicing to the regular perfect 4th voicing and you can go back to diatonic sound.
Sorry not aug4th + Aug fth. That would be tritone and octave. But the aug4th or tritone + the perfect 4th voicing I think could be played chromatically up and down with the Cmin or any minor pentatonic over that. This a sax player learning a bit of piano though. Another way to riff or to get to the 'out' voicing would be to keep the root and move the upper two notes up a half step. This again stretches the lower half of the voicing creating the tri-tone. So another way to think about it is to add a tri-tone to the voicing by shifting pinky down or top two fingers up. I think the piano player for Cannonball uses this sound chromatically on the live in New York or San Fansisco album. Gemini maybe? So not just McCoy.
So good! Thank you!
Great stuff. Interested in the fourth voicings. Polkadots in play 👍
Man, got that hack I've been hungry for. So simple and digestible, but output is sophisticated and elevating to my playing. Got it immediately thanks to clear concise teaching and a great break down. How do you do it? Working through the keys..
Best Lesson ever this was what i heard McCoy do
Nice stuff!!
thank you !
and happy hollidays !
Absolutely amazing lesson. Just what I needed
Absolutely killing
Your music is great! Nice improvization.
Gahhhhh my head exploded in the best possible way YAYYYY I say to the YAYYYYE. Thank you Peter. By the way, I love when you say doppio, are you ever gonna do a segment about the whacky grand piano that has the pedals with the second grand piano underneath you play with your feet? Pleeeeeez? That would be dope yo.
OMG, I am so far away from this not even having all my major scales down yet. Inspiring but daunting.
I was the same not so long ago. Stick with it, it will come.
Stick to the simpler stuff first. Major scales, minor scales, diminished scales, basic chords…. Then quartals… then crunchy quartals…
Amazingly usefull!!!! Thanks!
This is absolutely amazing. Hope to apply to my bass playing!
CRUNCHY baby!!!
Wow, thanks so much for that lesson, bravo!
CRUNCHY!🔥
So useful,thank you.
Ooooh mennnn!!! Thanks a lot sir. I get the concept of the left hand but the right hand, I don't get. Please help. Thanks alot, I love your tutorials.
Crazy good!
Merry Christmas 🤩🔥
I think of these as rootless hendrix chords, or sharp 9 chords. But I like how you show the relation to the quartal diatonic voicings as alterations.
For the A D G variant, why do you move the D to C# instead of keeping it at D and just lowering A to G#?
Us trumpet players can have lots to of fun with this
Is there a theoretical basis for the alterations?
Thanks so much. I learn a lot in just one video! Keep up the good work. FF
Thank you Mc Coy Tyner!
this is awesome
This is great. Can anyone explain the logic behind dropping the 2 bottom notes on the 4th one but none of the others?
Super useful and straight up legit. Thanks!
There’s almost a flavour of shifting around different Phrygian roots going on
Oh, very nice! And does anyone know if the substitutions made are based on a specific alternative scale that somehow relates to Dorian then?
Yikes! Love it!
Great TIP thx ! BUT there is a mistake in the pdf - in #4 D should change to Db.
This is spectacular! I love these lessons, they are so helpful to discovering new ideas and theory with jazz. Didn't McCoy Tyner use this in Contemplation?
All about the shape, and not a scale. Makes you think of harmony as movement with all those half and whole steps. Question, Peter: Does this technique work with the inversions of quartal voicings? Instead of ADG, doing DFG or FGD and moving those inner and outer voices around?
My guess would be no. Remember he said the voicing was built from the bottom up in fourths. So if you invert it, the distances between the notes from the bottom up are no longer in fourths thus changing the tonality.
@@IN2music2 You can play inverted fourths though--that's actually what I thought the video was going to be about. Interesting to play some of Coltrane's modal melodies with inverted fourth harmony.
Man, that's so spicy! Luv it!
Fantastic video.
a new world!!!!! But i wonder why it works? and in mixolydian(like passion dance) what should we play? Thank you peter!
the mixolydian in passion dance is nothing different than dorian over the 5th. So F7=Cm7
@@etiennewittich9652 Omg I was so stupid to forget this，thx!!!