This is because, when you take instrumental lessons, you are just learning to play the instrument. In order to get the rest of the information you need, you should take a music theory class, and preferably one that focuses on composition (harmony, counterpoint etc), before entering college. However, schools like Berklee (where I teach) offer very basic theory and harmony classes for students with little to no background with these topics. Having said that, you’ve done a good job, presenting this clearly.
I don't normally comment on TH-cam. It was something about your spirit. The light in you came thru and added to your message. And your message.... Thank you. The way you shared your experience and growth in music theory made something click in me. Misty was a good example. I going to have to watch your video a few more times because you packed a lot in a short video. Excellent presentation
I struggle with scales, but love playing/finding chords…your scales as chords will really stretch me into knowing the scales, as I already live chord shapes. I just gotta practice now😁
For the Right Hand: 1/2 is to learn the Gb Major scale the two black notes or play with fingers 2&3 the three black notes are played with the fingers 2, 3 & 4 in the thumb on the notes F & Cb (B). Is it progressed through the different Black Keys F & C (or Cb) are played by the thumb. Bb it's always played by 4. G/Gb by 2, Ab/A by 3. D/DB by 2, Eb/E by 3. F-Major and Cb(B)F-Major follow the black key fingering. The Scales that start on While Keys are all: 1-2-3-1-2-3-4-1 5 "Pinkie" is used on the Top Note when ending the scale.
What an excellent way to break down a perceived complex stuff in jazz. You're simply the BOMB and you ROCK. Thanks for sharing this beautiful insight....very impactFULL
I'm very surprised she wasn't taught ii, V etc. while studying classical piano. I had hard-core harmony theory courses in music school while studying classical. We had to analyze Mozart, Beethoven, Bach.
My experience has been that most subjects are taught with little information on the "how," and none whatsoever on the "why." A good example (but by no means the only one) is math. "Do this to these numbers. Now do this, and this, and then do this. Here is your answer." Like learning magic tricks. I was (I am ashamed to admit) in my fifties when I started asking, but wait...how? Why? About many things. Better late then never.
You have just described my math journey. And as a kid I was far from a genius but usually one of the smartest kids in the class (by modern academic standards and metrics but, that's a different conversation). I still struggled with math and mainly because there was no "why" to it. Everybother class had this exciting if not at least interesting why. But not math. Or at least not how it was taught to me. Then in my 10th grade year we literally had no books and went through almost about 8 teachers. I pretty much checked out as far as math goes at that point.
Im 43 now. 🎸 i started when i was 13 learning guitar and it still teaching me kinda like life. I feel music like my brokenheart. It keeps me going. Knowing i still have a heart to feel and still human most people these days forgot that and cold hearted due to their personal insecurity and failures and disappointments. Keep playing music be you
00:05 Learning jazz piano presented new challenges after a background in classical music. 02:00 Lack of resources and understanding at Jazz School 03:54 Understanding chords derived from major scales 06:11 Understanding chord progressions and building chords from major scales 08:31 Understanding chords and tensions is essential for jazz 10:44 Choosing tensions for dominant chords in jazz 12:32 Understanding jazz music method and foundational exercises are crucial. 14:02 Learning harmony was crucial and wish it was taught at Jazz School
Thats what I did as well, never understood anything in school but when I was 23 I decided to do that in all 12 keys and now im 29 and have made insane progress in jazz funk and gospel in all 12 keys def recommend to go back to the basics even if you you've been playing for decades.
I was fortunate enough to have a piano / organ teacher that also was a gigging musician she would even teach part of the theory along with the classical pieces. I had to write in the chords in something like a Chopin waltz or a Bach invention.
Thank you for sharing your jazz journey with the world. I'm an autodidact in jazz. I will incorporate your idea of expressing scales as chords into my practice. How beautiful is Misty too. Best of luck in your jazz studies!
This is really an excellent video especially from 4:04, simple & efficient method to master great sounds. Your Misty playing is canonically gorgeous. Thank you so much!
After studying this from Monday (Yesterday) I realised that the root 7 and 3rd sounded familiar… it’s Carl Thomas “I wish “ it uses the same Voicing in the key of Bb flat manjor I think 💭 thanks For all your videos and lessons.
Cordle degrees is really important. This is one of the basics that a school that really focuses in jazz should teach. And cord construction is also very important theory
Thank you for this!! Classical trained violinist, wanting to "understand" jazz harmony better and I have been wanting to practice scales on the piano more, but didn't have a particular idea of how to do it. This seems to make so much sense to me! Especially since it's in the context of a key and a scale, I think this will help me use what I know to understand the things I don't yet. I think I'm gonna start out by not trying to know what the chords are even called, I'll just do them in scales lol. Looking forward to how it will help! Thanks again for sharing!!
You are a great instructor, Thembi! Your lessons are simplified and indeed value adding! Keep it up!💪😎 You are becoming one of my favourite jazz pianists!
Coming in at the right time yet again. I chose to learn jazz, I've been watching a lot of Barry Harris, thelonious monk, and Bill Evans concept/voicing techniques but this is what I really needed. Thank you!
@mrquick6775 not every teacher is for everybody. I learn from multiple people jus so I can get a broader spectrum on why and how something works. I understood it when I first heard one of Barry's masterclass but I wanted to take that knowledge deeper. Cause I will admit he doesn't explain well. He jus makes you do it and explains as he goes, which is what I noticed the most.
I just want to say that 5 minutes of focusing on what you are saying has already made me a better player. I knew these things but the exercises you laid out really cemented the concepts for me.
Originally found you from your McCoy Tyner videos, especially the one where you transcribe one of the best licks ever (McCoy is my fav). I enjoyed this video. I felt sad though that you weren't taught harmony by the more technical sight reading teacher, or the jazz school, especially if you were paying to be there. But you learned it anyway by sheer will. And it is the journey of unlocking wizard knowledge that is one of the most fun aspects of music. All music teachers should be able to understand and play music on a purely aural basis, and explain what is going on, not rely only on written music. Though from traditional notation based teachers you will learn good instrument technique, phrasing, dynamics, articulation, tone. Even with teachers at your side, music is a journey of self study with any findable materials, like Thembi's course, or books from the library. Good books to understand how it is all derived, even the major scale itself, how chords relate to each other, voice leading and counterpoint: "The Theory and Practice of Tone Relations" by Percy Goetschius, "Harmony" by Walter Piston, and "The Jazz Theory Book" by Mark Levine. Plenty of exercises in those too.
I love Jazz, it's my favorite genre and I think in many ways it's the ultimate genre, but for some reason I would really love to hear you play classical pieces now that you have a masterful understanding of theory
I used Diatonic theory to play before, but it is not as efficient for quick thinking as it requires a lot more memorization in my opinion. you may benefit from learning about Barry Harris' method: It might be confusing at first but it is much more applicable to jazz harmony and MOVEMENT (all harmony and movement to me). I only use the method of description that you use to speak to other musicians really. I use Barry Harris' method to actually improvise and play and it is much more comfortable, and when I play, people honestly think my knowledge level is far better than it actually is.
i'm just starting on jazz bass after 8+ years of classical method - this is one of the exercises my teacher has me doing - playing the 7th chord arpeggios off the major scales. We go up the first chord then down the next over 3 octaves. I've added the challenge of trying to sing the note before I play it.
There are lots of books on harmony and chord progressions. I went to art school and still had a book called Modern Chord Progressions for Jazz and Pop Music. I wasn't in music school. I just did it on my own.
Beautiful, humble, educated & a great communicater. I like music & beautiful sounds but i don't necessarily want to be a piano player, just want to create beautiful sounds as a therapeutic hobby.
I had much the same experience in Jazz School, but I was a guitarist who could play a bit of piano. They couldn't find a pianist for the 2nd level Jazz Band, so the director asked me to do it. Most scores where just chord symbols with slashes, no rhythm pattern or anything. The other's were these Block Chords with 6 and 7 notes that nobody could read, let alone play, at the tempos. I found the easiest thing was to find a rhythmic groove and just splash out a chord and just focusing on a melodic top note that was a counter melody. The Director really dug this approach and stopped the rehearsal to bring it to the attention of the other students. I was inwardly embarrassed because I didn't know what I was doing. I couldn't really tell if what I was playing had musical Validity or Not! But the important lesson I learned that day was when "The Opportunity" Arises, you have to trust that you Are ready, and rely on Inspiration rather than knowledge.
Strangely, I learn a lot from you talking, sharing your music learning experiences. Especially those experiences in struggle, discovery and breakthroughs - the realisation you are human is oddly encouraging. In tougher practice days, seeing musicians who are on top of their game like you, gives the illusion you all probably dropped from heaven as musical prodigies and maybe just maybe these heights of mastery were never meant for all of us.
I don't know anything about teaching, but you sound like a great teacher, in part because you had to figure out a path for learning. People who know how to figure out a path are probably better leaders. By the way, the interludes you play in the early part of the video and that play in the background at some points (not Misty)--I don't know if they are improvised or what, but wow!
Finally someone who gets it that they didn't get it and now they get that they didn't get you and you can get it on your own by keeping it simple and less lingo'd.
At 8:30, To play scales as chords as a conduit to the 3rd, 5th and 7th etc. In my mind I have always said if I can figure out how it works, I am good keeping in mind i can't site read music and cant really play piano as a more of a guitar guy.
Yeah. "The family of chords" is really important to learn. Idk....really how to respond to this video. I am self-taught, I do not read music well, if at all. One of my first books that I got about scales talked about the family of chords. I'm confused as to how the classical community works. I have met many classical musicians that do not know the basics of music theory. It really boggles my mind, especially now with the internet. Well, I'm glad that you persevered and found a way to the information.
The theory of harmony is part of classical music education. It doesn’t cover the harmonic complexity used in jazz but it would the basics would normally be taught to students. But I could see how it could be missed. And I can see why jazz school might assume this knowledge.
Good on you Thembi, I find the way you explain music theory in general is extremely simple and useful, being a teacher myself I totally share your views on how jazz is taught in school having being there myself a few years ago. I share your concepts organically and above all practical with my students. Keep going You’ve a knack for making things work simply and every one can benefit from your teaching. Go well 🙏🎶🫶
I had a classical guitar teacher who knew a lot of jazz theory so I started learning it early on as I was learning classical. The transition to jazz school was a lot easier after that. At least chord construction wasn’t a mystery! I guess finding a good teacher is key.
Re high school (classical) music as subject in South Africa, you do have theory, harmony, form analysis, music history, practical musicianship (ear training). With your practical individual lessons, you also have scales, including arpeggios,broken chords,chromatic, playing in 3rds, 6ths, 8ves,10ths, depending on level of exam. At University, you do form analysis, and chord extensions (jazz chords) which you find in Impressionism i.e. Debussy (amongs various subjects). Pupils may also cover composers up to the 20th century in high school and further studies. You don’t stop at the Romantic period at school level, unless you only have time to cover 3 or 4 necessary examination pieces per year. But that’s on you. I’m cassical trained , accompanied the city choir, university choir, ballet exams, played organ in church, and transcribed and performed 89 Steely Dan songs so far as a keyboardist, and do rock shows. Please don’t blame classical music. Nothing wrong with music literacy😂. Oscar Peterson, Herbie Hancock, Chick Corea, Peter Martin amongst other, all had “classical” training (with an exellent technique). The sky is the limit. Every genre takes time-you have a life time to cover something you love. I’m getting tired of classical and jazz musicians throwing stones at each other. Don’t compare apples with pears. Just a temporary choice.
@austinsdivinetv Hi Austin, what do you mean? You should have been sent to a link that allows you to download the booklet. However on my side I can see that you made a payment, if you’re still having trouble please email me and I’ll send it to you: bookings.tdmusic@gmail.com.
I’m planning on this soon! In the meantime I have a booklet and video that goes a long with it if you’d like to learn more of what I spoke about in this video. Otherwise thanks for tuning in🫶💯
ah, I remember how exciting it was to get to the late int/early advanced stage and be able to play pieces like Rachmaninov Prelude C# minor, Brahms Rhapsody in G minor, Debussy Sunken Cathedral, Mozart K332...
Hello Thembelihi, I am the exact opposite of you in a lot of ways. I came to jazz from a songwriting background. This meant that I had very little technique on the keyboard, but lots of understanding of chords and their functions. Also lots of understanding of melodies and song structures. I then had to learn how to play the piano in order to put all this into practice. In that respect I am similar to you. It is the hardest thing I have ever done. To understand harmony in jazz, is very different than understanding harmony in Pop. It is much much more involved. At present there is no tradition in songwriting in jazz. Jazz musicians mostly play, or sing "The standards" of the "Great American Songbook", in the jazz style. At the end of the day we all have to persevere with our art, even though progress is slow. I am a retired person and so can devote all my time to it. In a previous comment on one of your postings, I told you that I would soon be posting some recordings of my songs on line. I hope to post one month from May till December. I will try and let you know.
@@Eric-dd8bk That is great that you have found them. I have been looking for 10 years. Can you direct me to someone writing original jazz songs in the style of the Great American Songbook.
@@TranquiloTrev Basically all the fusion musicians, Lary Carlten, Pat Metheny, Frank Gambale, even polyphia, Scott Henderson, even Guthrie Govan, and so on are all basically jazz musicians or musicians that have heavy jazz influence in their writing that still make new stuff. Obviously I'm a guitarist.
@@Eric-dd8bk Obviously we are talking about two completely different things. I was talking to Thembeli about piano. In my mind I was referring to solo piano. I thought that was what she was talking about. Have a nice day.
Just recently started following you on Instagram. Truly love your sound and what you’ve packaged here for us novice ‘piano players’🤣. I’ll keep following for more!
Hello, I am viewing your video for the first time, and I wish to have found you sooner, but now is the time. I am an older beginner student who began studying with a teacher using the method books, and of course got buried into the classical style of playing the piano. I am from a gospel, blues and Jazz lover of music. I had hoped to get the foundation and branch into playing what I am interested in, but I couldn't find or get the methods or teacher. I listened to your kind of frustrations trying to get to understand harmony and play Jazz . I, too, would like to be where you are in music. I will continue to look at your video tutorials, and hopefully I can gain more from your kind and relaxed way of playing and teaching. I would appreciate your guidance, and gladly support you. Help, Edward Henderson
Chic once indicated that EVERY musician has unique conceptual map of rhythm, harmony band melody. Ask any other musician how they think, say, about II-7b5. You will get many answers.
Standing from a progression, Have you conceptualized the Melody notes? perhaps when a functioning chord has a root or something else on thee, why is it consonante then disonant or is just consonant or i.e.: sometimes a fifth, third or something else? Thank you for your consideration
Hello! I’ve had a keyboard and have been playing on off for about 6 years now. I’ve never had proper musical training or anything of the sort, but I am deeply interested in learning how to play jazz. I know how to read music and maybe 7 out of the 12 major scales (no minor scales yet) and a rough understanding of how to build chords. I suppose what I am getting at is: where do I start? I don’t have access to a teacher right now, but I am hoping that will change in the near future. Still I want to learn as much as I can on my own in case my situation doesn’t change. I’ve purchased a few piano books that include basic music theory, but I find it hard to create a consistent practice routine because frankly, I don’t like the pieces. If you have any advice or knowledge relating to the matter pleaseee share🙏🏾. It would be so appreciated.
There is no such thing as "best tension" chords. These are voicings that suits in a certain context and suits your liking, period. Jazz is open to infinity.
This is exactly what I have been noticing lately but for the numbers, I comprehend the numbers according to the key and not so much according to a chord within that key. I see the chord and not the individual parts of the chord. It’s a part of the key not an individual chord. It’s a sequence within a key and not a whole lot of parts. Like the mode, I’m ok with modes as elements of a key. I like the sound of that dropped 6th being included with mixelidian so I will give that dropped ❤6th chonk, it’s not an accent it’s a chonk, even Autumn leaves gets the punk treatment. No it’s not a typo I meant to use the p. That mixelidian needs some love so drop the 6th a half step you will not regret it. And it ok to spell modes wrong because I’m 68 and I know these things 😂
@@thembelihledunjana What confuses me is that these chords also appear in other scales and keys. For example: The Eb maj7 chord could function as the I (tonic) chord in Eb major, the IV (subdominant) chord in Bb major, or even the VI (submediant) chord in G minor. The Bb min9 chord could serve as the I (tonic) chord in Bb minor, the IV (subdominant) chord in Db major, or the III (mediant) chord in Gb major. And the Eb7 chord can be the V (dominant) chord in Eb major, the II (supertonic) chord in Bb major, or the III (mediant) chord in C minor.
I understand, but you have to look at the context of the tune you’re playing in. For instance there’s no way that the Ebmaj7 can be chord 4 of Bb maj; the key of “Misty” is Eb, therefore it has to be tonic at that point. So practice the chords within songs. To get context
Thank you for the lessons, they really help me understand what I'm doing when playing chord progressions. One question, are there any unique chord progressions or we all just using the same & voicing them differently? I'm a producer and I particularly love your piano tutorials where you breakdown classic South African songs like Lakutshon'ilanga... . There aren't enough african music piano tutorials that I see (it's you & Kay Benyarko primarily on my feed), could you do more of those when you get the time & if it isn't a big ask. Big Fan.
Just fingering misty today for the guitar and wondering about tension and then your video came along! The tensions should sound good with the melody. What about the tension in tritone sub's? There're also passing chords
This is because, when you take instrumental lessons, you are just learning to play the instrument. In order to get the rest of the information you need, you should take a music theory class, and preferably one that focuses on composition (harmony, counterpoint etc), before entering college.
However, schools like Berklee (where I teach) offer very basic theory and harmony classes for students with little to no background with these topics.
Having said that, you’ve done a good job, presenting this clearly.
Yeah I learnt that in 2014 when I enrolled. But happy I’m able to teach it now🩷
Sir how do I apply in Berklee school of music
I don't normally comment on TH-cam.
It was something about your spirit.
The light in you came thru and added to your message.
And your message....
Thank you.
The way you shared your experience and growth in music theory made something click in me.
Misty was a good example.
I going to have to watch your video a few more times because you packed a lot in a short video.
Excellent presentation
Hi Mike, thanks for your observation and lovely comment💯🩷
I struggle with scales, but love playing/finding chords…your scales as chords will really stretch me into knowing the scales, as I already live chord shapes. I just gotta practice now😁
For the Right Hand:
1/2 is to learn the Gb Major scale the two black notes or play with fingers 2&3 the three black notes are played with the fingers 2, 3 & 4 in the thumb on the notes F & Cb (B).
Is it progressed through the different Black Keys F & C (or Cb) are played by the thumb.
Bb it's always played by 4.
G/Gb by 2, Ab/A by 3.
D/DB by 2, Eb/E by 3.
F-Major and Cb(B)F-Major follow the black key fingering.
The Scales that start on While Keys are all:
1-2-3-1-2-3-4-1
5 "Pinkie" is used on the Top Note when ending the scale.
What an excellent way to break down a perceived complex stuff in jazz. You're simply the BOMB and you ROCK. Thanks for sharing this beautiful insight....very impactFULL
I'm very surprised she wasn't taught ii, V etc. while studying classical piano. I had hard-core harmony theory courses in music school while studying classical. We had to analyze Mozart, Beethoven, Bach.
My experience has been that most subjects are taught with little information on the "how," and none whatsoever on the "why." A good example (but by no means the only one) is math. "Do this to these numbers. Now do this, and this, and then do this. Here is your answer." Like learning magic tricks. I was (I am ashamed to admit) in my fifties when I started asking, but wait...how? Why? About many things. Better late then never.
You have just described my math journey. And as a kid I was far from a genius but usually one of the smartest kids in the class (by modern academic standards and metrics but, that's a different conversation). I still struggled with math and mainly because there was no "why" to it. Everybother class had this exciting if not at least interesting why. But not math. Or at least not how it was taught to me. Then in my 10th grade year we literally had no books and went through almost about 8 teachers. I pretty much checked out as far as math goes at that point.
Im 43 now. 🎸 i started when i was 13 learning guitar and it still teaching me kinda like life. I feel music like my brokenheart. It keeps me going. Knowing i still have a heart to feel and still human most people these days forgot that and cold hearted due to their personal insecurity and failures and disappointments. Keep playing music be you
Thats beautiful
Love how she explains it.
00:05 Learning jazz piano presented new challenges after a background in classical music.
02:00 Lack of resources and understanding at Jazz School
03:54 Understanding chords derived from major scales
06:11 Understanding chord progressions and building chords from major scales
08:31 Understanding chords and tensions is essential for jazz
10:44 Choosing tensions for dominant chords in jazz
12:32 Understanding jazz music method and foundational exercises are crucial.
14:02 Learning harmony was crucial and wish it was taught at Jazz School
🫶
Thats what I did as well, never understood anything in school but when I was 23 I decided to do that in all 12 keys and now im 29 and have made insane progress in jazz funk and gospel in all 12 keys def recommend to go back to the basics even if you you've been playing for decades.
Amazing🩷💯
I was fortunate enough to have a piano / organ teacher that also was a gigging musician she would even teach part of the theory along with the classical pieces. I had to write in the chords in something like a Chopin waltz or a Bach invention.
Sounds great💯
Thank you for sharing your jazz journey with the world. I'm an autodidact in jazz. I will incorporate your idea of expressing scales as chords into my practice. How beautiful is Misty too. Best of luck in your jazz studies!
thank you ..well done, clear and efficient demonstration..you are appreciated
I write music and would like to send you some songs
This video really means a lot to me. Although I'm not a pianist, I had a similar experience
Thanks, Thembi! No one ever talks about this in class, and it's maybe what's missing from my playing. I got bored and stuck and lost motivation.
This is really an excellent video especially from 4:04, simple & efficient method to master great sounds. Your Misty playing is canonically gorgeous. Thank you so much!
Thanks😊
After studying this from Monday (Yesterday) I realised that the root 7 and 3rd sounded familiar… it’s Carl Thomas “I wish “ it uses the same Voicing in the key of Bb flat manjor I think 💭 thanks For all your videos and lessons.
Wow! You're such a great teacher... thanks a lot. I've learned a lot in this short video of yours.
Awesome jazz piano class! Thanks for share. Greetings from Brazil
Cordle degrees is really important. This is one of the basics that a school that really focuses in jazz should teach. And cord construction is also very important theory
I think you meant chordal.. chord construction
Danke!
That's like tackling EMT training before knowing anatomy and physiology! Got it.
Had to Google EMT but yeah😂
Well done , gal ! You have done a very good job breaking down these somewhat esoteric technique. 👍👍👌👌❤️
Thank you for this!! Classical trained violinist, wanting to "understand" jazz harmony better and I have been wanting to practice scales on the piano more, but didn't have a particular idea of how to do it. This seems to make so much sense to me! Especially since it's in the context of a key and a scale, I think this will help me use what I know to understand the things I don't yet. I think I'm gonna start out by not trying to know what the chords are even called, I'll just do them in scales lol. Looking forward to how it will help! Thanks again for sharing!!
You’re welcome and all the best💯
You are a great instructor, Thembi! Your lessons are simplified and indeed value adding! Keep it up!💪😎 You are becoming one of my favourite jazz pianists!
Appreciate it🎹
Coming in at the right time yet again. I chose to learn jazz, I've been watching a lot of Barry Harris, thelonious monk, and Bill Evans concept/voicing techniques but this is what I really needed. Thank you!
Happy to hear that it helped🔥
To me Barry Harris over complicates things, just my opinion though!
@mrquick6775 not every teacher is for everybody. I learn from multiple people jus so I can get a broader spectrum on why and how something works. I understood it when I first heard one of Barry's masterclass but I wanted to take that knowledge deeper. Cause I will admit he doesn't explain well. He jus makes you do it and explains as he goes, which is what I noticed the most.
Thanks for sharing your thoughts. I am on this journey for life.
I just want to say that 5 minutes of focusing on what you are saying has already made me a better player. I knew these things but the exercises you laid out really cemented the concepts for me.
I’m happy to hear❤️
Beautiful playing , very thoughtful explanations
You have just unlocked a new way to look at scales and practice them, thank you!!!
One of the things I would have loved to learn earlier on. Would have helped a great deal I think
This is not a new way. It’s been going on for a long time
Originally found you from your McCoy Tyner videos, especially the one where you transcribe one of the best licks ever (McCoy is my fav). I enjoyed this video. I felt sad though that you weren't taught harmony by the more technical sight reading teacher, or the jazz school, especially if you were paying to be there. But you learned it anyway by sheer will. And it is the journey of unlocking wizard knowledge that is one of the most fun aspects of music. All music teachers should be able to understand and play music on a purely aural basis, and explain what is going on, not rely only on written music. Though from traditional notation based teachers you will learn good instrument technique, phrasing, dynamics, articulation, tone. Even with teachers at your side, music is a journey of self study with any findable materials, like Thembi's course, or books from the library. Good books to understand how it is all derived, even the major scale itself, how chords relate to each other, voice leading and counterpoint: "The Theory and Practice of Tone Relations" by Percy Goetschius, "Harmony" by Walter Piston, and "The Jazz Theory Book" by Mark Levine. Plenty of exercises in those too.
I love Jazz, it's my favorite genre and I think in many ways it's the ultimate genre, but for some reason I would really love to hear you play classical pieces now that you have a masterful understanding of theory
The classical is very rusty, but maybe one day I’ll post something
I used Diatonic theory to play before, but it is not as efficient for quick thinking as it requires a lot more memorization in my opinion.
you may benefit from learning about Barry Harris' method:
It might be confusing at first but it is much more applicable to jazz harmony and MOVEMENT (all harmony and movement to me). I only use the method of description that you use to speak to other musicians really. I use Barry Harris' method to actually improvise and play and it is much more comfortable, and when I play, people honestly think my knowledge level is far better than it actually is.
Oh yeah, Barry Harris method is cool. Lots of tools one needs to play well💯
I love your version of "Theme for Ernie" which is one of my favorites from John Coltrane. Brilliant video presentation...very well done. God bless.
Thank you🩷
i'm just starting on jazz bass after 8+ years of classical method - this is one of the exercises my teacher has me doing - playing the 7th chord arpeggios off the major scales. We go up the first chord then down the next over 3 octaves. I've added the challenge of trying to sing the note before I play it.
This is a great exercise not just for harmony but finger strength. I do the same thing on piano sometimes as a warmup
Love your videos! Very well explained 🙏💃👏👏
Wonderfully constructed video. Thank you!!!
check out the hymn books at church.. the use of thirds to play melodies....simple stuff but important
True
Oh trust me she's way passed that level.
That's like the ground 0 basic of playing any jazz.
Thanks Thembi! ❤️
Beautiful playing! Love those dark tones
Great to hear your thoughts, mostly I love how you love it.
Subscribed already... You're really humble am telling you😢... And now you really help me👏🏽👏🏽👏🏽
Thanks Thembi. I loved the way you explain everything. it gave me clarity.
You’re welcome
U are a very good teacher. Will love to learn jazz from you
There are lots of books on harmony and chord progressions. I went to art school and still had a book called Modern Chord Progressions for Jazz and Pop Music. I wasn't in music school. I just did it on my own.
Great
Beautiful, humble, educated & a great communicater. I like music & beautiful sounds but i don't necessarily want to be a piano player, just want to create beautiful sounds as a therapeutic hobby.
I had much the same experience in Jazz School, but I was a guitarist who could play a bit of piano. They couldn't find a pianist for the 2nd level Jazz Band, so the director asked me to do it.
Most scores where just chord symbols with slashes, no rhythm pattern or anything. The other's were these Block Chords with 6 and 7 notes that nobody could read, let alone play, at the tempos. I found the easiest thing was to find a rhythmic groove and just splash out a chord and just focusing on a melodic top note that was a counter melody. The Director really dug this approach and stopped the rehearsal to bring it to the attention of the other students. I was inwardly embarrassed because I didn't know what I was doing. I couldn't really tell if what I was playing had musical Validity or Not! But the important lesson I learned that day was when "The Opportunity" Arises, you have to trust that you Are ready, and rely on Inspiration rather than knowledge.
💯
Interesting, interested to hear what that might’ve sounded like.
I didn’t see it mentioned on your infographic, but the #11 also fits nicely over Major 7th chords.
Was writing from a beginners viewpoint, tensions like that you usually use later, not that you can’t
Strangely, I learn a lot from you talking, sharing your music learning experiences. Especially those experiences in struggle, discovery and breakthroughs - the realisation you are human is oddly encouraging. In tougher practice days, seeing musicians who are on top of their game like you, gives the illusion you all probably dropped from heaven as musical prodigies and maybe just maybe these heights of mastery were never meant for all of us.
😅I understand what you mean. But it’s not the case at all, I still have struggles to this day! But different ones.
I don't know anything about teaching, but you sound like a great teacher, in part because you had to figure out a path for learning. People who know how to figure out a path are probably better leaders. By the way, the interludes you play in the early part of the video and that play in the background at some points (not Misty)--I don't know if they are improvised or what, but wow!
Thank you🙏
Finally someone who gets it that they didn't get it and now they get that they didn't get you and you can get it on your own by keeping it simple and less lingo'd.
At 8:30, To play scales as chords as a conduit to the 3rd, 5th and 7th etc. In my mind I have always said if I can figure out how it works, I am good keeping in mind i can't site read music and cant really play piano as a more of a guitar guy.
As a self tought via TH-cam I respect you for your level of skill 🙌🙌
Thanks
Yeah. "The family of chords" is really important to learn. Idk....really how to respond to this video. I am self-taught, I do not read music well, if at all. One of my first books that I got about scales talked about the family of chords.
I'm confused as to how the classical community works. I have met many classical musicians that do not know the basics of music theory. It really boggles my mind, especially now with the internet. Well, I'm glad that you persevered and found a way to the information.
I really want to understand these concepts especially as regards to harmony. Thank you for this video 🙏🏽
Sure thing
The theory of harmony is part of classical music education. It doesn’t cover the harmonic complexity used in jazz but it would the basics would normally be taught to students. But I could see how it could be missed. And I can see why jazz school might assume this knowledge.
Good on you Thembi, I find the way you explain music theory in general is extremely simple and useful, being a teacher myself I totally share your views on how jazz is taught in school having being there myself a few years ago. I share your concepts organically and above all practical with my students. Keep going
You’ve a knack for making things work simply and every one can benefit from your teaching. Go well 🙏🎶🫶
That Roland FP30 sounds really nice. Can't wait to switch from P125 to FP30x!
I had a classical guitar teacher who knew a lot of jazz theory so I started learning it early on as I was learning classical. The transition to jazz school was a lot easier after that. At least chord construction wasn’t a mystery! I guess finding a good teacher is key.
Thank you for simplifying jazz harmony!
GREAT VIDEO, THANK YOU QUEEN.
Great chords thembe from Phil midlands U.K.
This is gold!
You just earned a subscriber. Love from Kenya!
Thembi, there is an American pianist/organist I think you may be intrigued by if you haven’t already heard of him. His name is Corey Henry.
I'm still learning stuff too, welcome to the world of music 😁
Great content, keep going. And luckily I got to learn about tension chords. I can say I have been struggling with decision making as well.♥♥♥
🫶… I hope you downloaded the free pdf. It will help you with your tension choices…
Re high school (classical) music as subject in South Africa, you do have theory, harmony, form analysis, music history, practical musicianship (ear training). With your practical individual lessons, you also have scales, including arpeggios,broken chords,chromatic, playing in 3rds, 6ths, 8ves,10ths, depending on level of exam. At University, you do form analysis, and chord extensions (jazz chords) which you find in Impressionism i.e. Debussy (amongs various subjects). Pupils may also cover composers up to the 20th century in high school and further studies. You don’t stop at the Romantic period at school level, unless you only have time to cover 3 or 4 necessary examination pieces per year. But that’s on you.
I’m cassical trained , accompanied the city choir, university choir, ballet exams, played organ in church, and transcribed and performed 89 Steely Dan songs so far as a keyboardist, and do rock shows. Please don’t blame classical music. Nothing wrong with music literacy😂. Oscar Peterson, Herbie Hancock, Chick Corea, Peter Martin amongst other, all had “classical” training (with an exellent technique). The sky is the limit. Every genre takes time-you have a life time to cover something you love. I’m getting tired of classical and jazz musicians throwing stones at each other. Don’t compare apples with pears. Just a temporary choice.
Your journey, not mine.
Thank you very much!
Great lesson. Thank you 🙏🏾
You’re welcome
Thembeli, I just payed for the booklet how will I get?
@austinsdivinetv Hi Austin, what do you mean? You should have been sent to a link that allows you to download the booklet.
However on my side I can see that you made a payment, if you’re still having trouble please email me and I’ll send it to you: bookings.tdmusic@gmail.com.
You are Excellent!
If you would do a course on this I’d be happy to pay to learn. Because this type of learning is very helpful. Thank you for being this to us.😊
I’m planning on this soon! In the meantime I have a booklet and video that goes a long with it if you’d like to learn more of what I spoke about in this video. Otherwise thanks for tuning in🫶💯
Great explanation!!
You can use a #11 on minor dominants (V7 of i).
You can use anything you want really if used properly in context
Them big you're just incredible!!!
So happy❤that you figured it out…Excellence🦋🌹I don’t play…yet✔️
ah, I remember how exciting it was to get to the late int/early advanced stage and be able to play pieces like Rachmaninov Prelude C# minor, Brahms Rhapsody in G minor, Debussy Sunken Cathedral, Mozart K332...
Hello Thembelihi, I am the exact opposite of you in a lot of ways. I came to jazz from a songwriting background. This meant that I had very little technique on the keyboard, but lots of understanding of chords and their functions. Also lots of understanding of melodies and song structures. I then had to learn how to play the piano in order to put all this into practice. In that respect I am similar to you. It is the hardest thing I have ever done. To understand harmony in jazz, is very different than understanding harmony in Pop. It is much much more involved. At present there is no tradition in songwriting in jazz. Jazz musicians mostly play, or sing "The standards" of the "Great American Songbook", in the jazz style. At the end of the day we all have to persevere with our art, even though progress is slow. I am a retired person and so can devote all my time to it. In a previous comment on one of your postings, I told you that I would soon be posting some recordings of my songs on line. I hope to post one month from May till December. I will try and let you know.
Yea, be cool to hear your music💯
Not really.
Jazz musicians still do write new materials.
It's just that the public does not find them.
@@Eric-dd8bk That is great that you have found them. I have been looking for 10 years. Can you direct me to someone writing original jazz songs in the style of the Great American Songbook.
@@TranquiloTrev
Basically all the fusion musicians, Lary Carlten, Pat Metheny, Frank Gambale, even polyphia, Scott Henderson, even Guthrie Govan, and so on are all basically jazz musicians or musicians that have heavy jazz influence in their writing that still make new stuff.
Obviously I'm a guitarist.
@@Eric-dd8bk Obviously we are talking about two completely different things. I was talking to Thembeli about piano. In my mind I was referring to solo piano. I thought that was what she was talking about. Have a nice day.
Just recently started following you on Instagram. Truly love your sound and what you’ve packaged here for us novice ‘piano players’🤣. I’ll keep following for more!
Thanks so much, hope you find some value💯🩷
Hello, I am viewing your video for the first time, and I wish to have found you sooner, but now is the time. I am an older beginner student who began studying with a teacher using the method books, and of course got buried into the classical style of playing the piano. I am from a gospel, blues and Jazz lover of music. I had hoped to get the foundation and branch into playing what I am interested in, but I couldn't find or get the methods or teacher. I listened to your kind of frustrations trying to get to understand harmony and play Jazz . I, too, would like to be where you are in music. I will continue to look at your video tutorials, and hopefully I can gain more from your kind and relaxed way of playing and teaching. I would appreciate your guidance, and gladly support you. Help, Edward Henderson
@edwardhenderson3580 Hi Edward, thanks for sharing your story and I hope you find some value here🩷💯
You’re a very unique person.
🫶
You are a sensitive genius
Chic once indicated that EVERY musician has unique conceptual map of rhythm, harmony band melody. Ask any other musician how they think, say, about II-7b5. You will get many answers.
Agreed🩷
Amazing video!
Thanks. Please can you teach us how to play all Piano Chords?
There are only 3
Standing from a progression, Have you conceptualized the Melody notes? perhaps when a functioning chord has a root or something else on thee, why is it consonante then disonant or is just consonant or i.e.: sometimes a fifth, third or something else? Thank you for your consideration
Hello! I’ve had a keyboard and have been playing on off for about 6 years now. I’ve never had proper musical training or anything of the sort, but I am deeply interested in learning how to play jazz. I know how to read music and maybe 7 out of the 12 major scales (no minor scales yet) and a rough understanding of how to build chords. I suppose what I am getting at is: where do I start? I don’t have access to a teacher right now, but I am hoping that will change in the near future. Still I want to learn as much as I can on my own in case my situation doesn’t change. I’ve purchased a few piano books that include basic music theory, but I find it hard to create a consistent practice routine because frankly, I don’t like the pieces. If you have any advice or knowledge relating to the matter pleaseee share🙏🏾. It would be so appreciated.
u inspired me to learn jazz piano
Im a big fan of your channel and learning alot ❤
Good to hear🫶
nice! thank you!
There is no such thing as "best tension" chords. These are voicings that suits in a certain context and suits your liking, period. Jazz is open to infinity.
Nice.
This is exactly what I have been noticing lately but for the numbers, I comprehend the numbers according to the key and not so much according to a chord within that key. I see the chord and not the individual parts of the chord. It’s a part of the key not an individual chord. It’s a sequence within a key and not a whole lot of parts. Like the mode, I’m ok with modes as elements of a key. I like the sound of that dropped 6th being included with mixelidian so I will give that dropped ❤6th chonk, it’s not an accent it’s a chonk, even Autumn leaves gets the punk treatment. No it’s not a typo I meant to use the p. That mixelidian needs some love so drop the 6th a half step you will not regret it. And it ok to spell modes wrong because I’m 68 and I know these things 😂
6:09 How you work out that those chords come from A-flat major using this method?
Bb min7 and Eb 7 exists in Ab major. Play the scale as chords, you’ll see. Then come back to me
@@thembelihledunjana What confuses me is that these chords also appear in other scales and keys. For example:
The Eb maj7 chord could function as the I (tonic) chord in Eb major, the IV (subdominant) chord in Bb major, or even the VI (submediant) chord in G minor.
The Bb min9 chord could serve as the I (tonic) chord in Bb minor, the IV (subdominant) chord in Db major, or the III (mediant) chord in Gb major.
And the Eb7 chord can be the V (dominant) chord in Eb major, the II (supertonic) chord in Bb major, or the III (mediant) chord in C minor.
I understand, but you have to look at the context of the tune you’re playing in. For instance there’s no way that the Ebmaj7 can be chord 4 of Bb maj; the key of “Misty” is Eb, therefore it has to be tonic at that point.
So practice the chords within songs. To get context
I LOVE this!
thank you ❤️🔥
that was great thanks!
great, thanks for sharing this!
You’re welcome 💯
Hopefully you've listened to Lyle Mays and Ahmad Jamal. Good examples of classical and jazz interpretation.
Love your music👌🏾
Thank you
Thank you for the lessons, they really help me understand what I'm doing when playing chord progressions. One question, are there any unique chord progressions or we all just using the same & voicing them differently? I'm a producer and I particularly love your piano tutorials where you breakdown classic South African songs like Lakutshon'ilanga... . There aren't enough african music piano tutorials that I see (it's you & Kay Benyarko primarily on my feed), could you do more of those when you get the time & if it isn't a big ask. Big Fan.
Great video! What's the very last piece you played at 15:30 ?
That was the outro of “Theme for Ernie” by Fred Lacey. Basically I played one piece throughout the entire video☺️
Just fingering misty today for the guitar and wondering about tension and then your video came along! The tensions should sound good with the melody. What about the tension in tritone sub's? There're also passing chords
Tritone sub dominants usually like #11 I’ve noticed
That's the fifth in resolution chord, the ninth is interesting @@thembelihledunjana