Never stop making these please 🙏 my parents won't let me study music and won't fund me for music. Your videos have helped me a lot in understanding jazz. I absolutely love it. Thank you and please continue.
it,s easier than you think.....I'll explain it in C MAJOR/Amin. You can transfer it to other keys later...( harder on the piano) I play the guitar becuase....I can just use the fretboard like a slide ruler...( it's harder at first to locate the WHITE Notes on the fretboard.) KEYS are just PITCH....Basic chords are just EVERY OTHER NOTE... Just play only the WHITE KEYS....starting from C. CEGB DFAC EGBD FACE GBDF ACEG BDFA C The MAJOR scale interval is the REFERNCE...you must get this down. KEEP it SIMPLE 1/2 step between 3 and 4.......... 7 and 8 1 2 3 4 5 6 7 8 Every other NOTE....the upper extension are just the next chord up example.... C E G, B D F A 1 3 5 7 9 11 13 D F A C E G B reference against the major scale ..counting from D 1 b3 5 b7 9 11 13 III chord E ( phrygian) 1, b3. 5 b7 b9 11, b13 IV F lydian 1, 3, 5, 7 9 #11, 13 V G mix 1, 3 5 b7 9 11 13 VI A aeo 1 ,b3, 5 ,b7 9 11 b13 VII B loc 1, b3, b5, b7 b9 11 b13 Okay......The BLACK KEYS b2 b3 b5 b6 b7 Shift ONE NOTE at a time..KEEP it SIMPLE b6 = HARMONIC MAJOR Ab C E G B D F Ab C E G B D F Ab C E ..ect Just play the Ab instead of the A note.... C Maj F min G7 b3 = Melodic min.......Eb......Play the Eb note instead of the E note b3, b6 Harmonic min Eb, Ab b3, b6, b7 C natural minor Eb , Ab, Bb The b3, b6, b7 are just the SECOND arpeggio of the I. IV, V chords... Just practice changing back and forth between Maj and minor C Maj F maj G maj C Maj F min G maj C min F maj G maj C min F min G min The FULL Diminished are the II, IV, vi VII as in b6 chord degree D F Ab B or B D F G# the augmented are C E G# or C E Ab FOLLOW simple instructions.... b2 b2, b3 Db, Eb Melodic minor b2 b2, b3, b6 Db Eb Ab Harmonic min b2 the b5 b3, b5 Eb , Gb melodic min b5 b3 b5 b6 Eb Gb Ab harmonic min b5 b3 #4 Eb F# melodic min #4 (lydian b3) b3 #4 b6 Eb F# Ab Harmonic min #4 .................................................................... YOU CAN reverse the PROCESS...PUSH UP.. It's the same 5 BLACK KEYS COUNT from the A note.....RELATIVE minor or NATURAL minor G#, F# G#.........D#, F# G# or Bb G# Bb F# G# Eb G# Eb F# G# FOLLOW SIMPLE directions.... D# G# D# F# G# if you play C#, F#, G#....it'l simply be A MAJOR the full diminished are still the 2, 4, b6, 7 chords B D F G# aug C E G# E G# C G# C E you can even play the A# note....instead of the A Ion #6 dor #5 phry #4 lyd #3 mix #2 aeo #1 loc maj7 for REFERENCE A min D min E min A min D min E7 A min D7 E7 A min B7 into E Maj7 A MAJ D min E7 if you play A Harmonic min b2 or melodic min b2 KEEP it simple... ( you can do a lot later) Play the Bb Major chord... it'll help you cycle down to the 4th ( refer to circle of 5th) Bb as the IV to F MAJOR/ Dmin Bb as I to Bb MAJOR/ Gmin Bb V to Eb MAJOR / C min the process will simply continue. D harmonic min b2 ( Eb) Eb to G min .....or C min.....to Ab MAJOR /F min... and so on and so forth.... You can play G7 into C MAJOR or C min B dim into C G , B, D, F .....BD F = B dim E7 into A MAJOR or A minor E G#, B, D G# dim into A Notice the A harmonic b5 or A melodic minor b5 .....it's the Eb note... it'll just give you more option to play into C minor for A minor. Notice the A#......loc Maj7... play A# MAJOR to G minor you can remember modes/chords like this KEEP it SIMPLE ion b6 dor b5 phy b4 lyd b3 mix b2 aeo b1 converted to ION #2, #4, #5 ion b3 dor b2 phr b1 Ion #4, #5 ldy b7 mix b6 aeo b5 loc b4 aeo maj7 loc maj6 ion #5 dor #4 phy Maj3 lyd #2 mix #1 ( loc b4, bb7) If you COMPREHEND it in ONE KEY at first....it'll be easier to play in other keys... You can use these scale to shift keys..to ANY KEY from ANY KEYS and shift the all 10 scales together to other keys... or just borrow a chord from other scale..make it as easy as you want Paint it as you wish....
Thanks so much. So glad I found your website! You are telling all the things my jazz teacher is telling me and more. I will keep watching. Thanks again!
It’s funny because I’d phrase your comment about melody and harmony exactly the opposite (the harmony is an extension of the melody), but I still agree with your explanation. I’d like to add a concept that’s helped me: Find as close to the original sheet music or the original recording as possible. Even in the Real Book or other modern fake books, there are TONS of superfluous chords which have nothing to do with the original spine of the song, and may have been played on one famous recording, but will then limit the interpretations of every well-meaning student who faithfully plays the Real Book or iReal changes. Most Songbook songs can be reduced to ii V I (tonacizing I, IV, V, or III) minor ii V i (tonacizing ii, iii, or vi) usage of iv minor, and usage of passing diminished chords. That’s really it in songs before the post-bop era. But you see all these ridiculous tritone subs and messily notated chords with unclear functions which have nothing to do with the real song
Totally! I feel like this guy deserves waaaay more subscribers & views. Everything on this channel is concise and to the point. Helps everything stick. Especially with that upper left "info block".
As a guitarist I enjoy getting a different perspective and gleaning insight here. You might check out Richie Zellon (not sure I spelled it right) or Jens Larson for a guitar perspective.
Coming from guitar it blows my mind that for each chords progression you run into in piano you should practise them in all 12 keys, sounds like so much work 🤯
Been wanting to "jazz up" my musical abilities since ages, but did not find any recourses yet that fit my way of learning... Until this channel! Just stumbled onto your channel and instantly subscribed! I love your clear and structured way of explaining, with the combination of showing it by playing, explaining it by telling and summarizing it in tables and lists. Grateful for your work!!
I have a question: many teachers and books say to listen to a lot of jazz to learn jazz, but how do you listen to jazz in a way that actually helps your playing? Thanks again for your educational and informative videos. You are a great teacher!
Great list; and many of these double up with my experiences too. However, I wonder whether based on your simplification of theory to a discussion regarding harmonic consonance and dissonance means that theory lacks discussion regarding rhythm?
Very interesting and helpful- thank you. I’ve never understood the common advice to practise everything in all 12 keys from a return-on-practise time perspective (at least for a hobbyist). It’s obviously a great thing to do if you have the time but if you don’t practising tunes in their more commonly called keys and playing a greater variety of tunes (ideally covering all the keys in composite) seems like a more rewarding approach. I’d be curious to hear any thoughts people have on the rationale for the practise everything in all keys advice. Thanks, M
This was very helpful. I tried looking for the hard copy to print out, but I could not find it by clicking on either of the links under your video. Did you make one this time around?
Can someone explain the benefit of practicing the melody in the left hand and learning scales in general with the left? The only thing i see people do is do walking basslines and comp chords with their left hands
You mention guide tones, but what Are guide tones? What do they look like and sound like? It is difficult to learn by hearing new undefined terms and mere phrases and words.
i had never heard that term either but it's just the 3 and 7 of the chord. so as he said, E and B in CMAJ7. in C7, it would be E and Bb. In Adim7 it would be C and Gb. See? they sound kinda weird when you first hear them because you're not playing the root, but that's the jazz sound!
They're the tones that DEFINE a chord for example imagine if you want to build a Cmaj7 chord would be: C E G B But you don't necessarily have to use the root or fifth degree aka the C or G because E and B are the notes that make the COLOR of that chord therefore GUIDE TONES
Never stop making these please 🙏 my parents won't let me study music and won't fund me for music. Your videos have helped me a lot in understanding jazz. I absolutely love it. Thank you and please continue.
it,s easier than you think.....I'll explain it in C MAJOR/Amin.
You can transfer it to other keys later...( harder on the piano)
I play the guitar becuase....I can just use the fretboard
like a slide ruler...( it's harder at first to locate the WHITE Notes
on the fretboard.)
KEYS are just PITCH....Basic chords are just EVERY OTHER NOTE...
Just play only the WHITE KEYS....starting from C.
CEGB DFAC EGBD FACE GBDF ACEG BDFA C
The MAJOR scale interval is the REFERNCE...you must get this
down. KEEP it SIMPLE
1/2 step between 3 and 4.......... 7 and 8
1 2 3 4 5 6 7 8
Every other NOTE....the upper extension are just the next chord up
example....
C E G, B D F A
1 3 5 7 9 11 13
D F A C E G B
reference against the major scale ..counting from D
1 b3 5 b7 9 11 13
III chord E ( phrygian) 1, b3. 5 b7 b9 11, b13
IV F lydian 1, 3, 5, 7 9 #11, 13
V G mix 1, 3 5 b7 9 11 13
VI A aeo 1 ,b3, 5 ,b7 9 11 b13
VII B loc 1, b3, b5, b7 b9 11 b13
Okay......The BLACK KEYS
b2 b3 b5 b6 b7
Shift ONE NOTE at a time..KEEP it SIMPLE
b6 = HARMONIC MAJOR Ab
C E G B D F Ab C E G B D F Ab C E ..ect
Just play the Ab instead of the A note....
C Maj F min G7
b3 = Melodic min.......Eb......Play the Eb note instead of the E note
b3, b6 Harmonic min Eb, Ab
b3, b6, b7 C natural minor Eb , Ab, Bb
The b3, b6, b7 are just the SECOND arpeggio of the I. IV, V chords...
Just practice changing back and forth between Maj and minor
C Maj F maj G maj
C Maj F min G maj
C min F maj G maj
C min F min G min
The FULL Diminished are the II, IV, vi VII
as in b6 chord degree
D F Ab B
or
B D F G#
the augmented are
C E G# or C E Ab
FOLLOW simple instructions....
b2
b2, b3 Db, Eb Melodic minor b2
b2, b3, b6 Db Eb Ab Harmonic min b2
the b5
b3, b5 Eb , Gb melodic min b5
b3 b5 b6 Eb Gb Ab harmonic min b5
b3 #4 Eb F# melodic min #4 (lydian b3)
b3 #4 b6 Eb F# Ab Harmonic min #4
....................................................................
YOU CAN reverse the PROCESS...PUSH UP..
It's the same 5 BLACK KEYS
COUNT from the A note.....RELATIVE minor or NATURAL minor
G#, F# G#.........D#, F# G#
or Bb G#
Bb F# G#
Eb G#
Eb F# G#
FOLLOW SIMPLE directions....
D# G#
D# F# G#
if you play C#, F#, G#....it'l simply be A MAJOR
the full diminished are still the 2, 4, b6, 7 chords
B D F G#
aug C E G# E G# C G# C E
you can even play the A# note....instead of the A
Ion #6 dor #5 phry #4 lyd #3 mix #2 aeo #1 loc maj7
for REFERENCE
A min D min E min
A min D min E7
A min D7 E7
A min B7 into E Maj7
A MAJ D min E7
if you play A Harmonic min b2 or melodic min b2
KEEP it simple... ( you can do a lot later)
Play the Bb Major chord...
it'll help you cycle down to the 4th ( refer to circle of 5th)
Bb as the IV to F MAJOR/ Dmin
Bb as I to Bb MAJOR/ Gmin
Bb V to Eb MAJOR / C min
the process will simply continue.
D harmonic min b2 ( Eb)
Eb to G min .....or C min.....to Ab MAJOR /F min...
and so on and so forth....
You can play G7 into C MAJOR or C min
B dim into C
G , B, D, F .....BD F = B dim
E7 into A MAJOR or A minor
E G#, B, D G# dim into A
Notice the A harmonic b5 or A melodic minor b5 .....it's the Eb note...
it'll just give you more option to play into C minor
for A minor.
Notice the A#......loc Maj7...
play A# MAJOR to G minor
you can remember modes/chords like this
KEEP it SIMPLE
ion b6
dor b5
phy b4
lyd b3
mix b2
aeo b1 converted to ION #2, #4, #5
ion b3
dor b2
phr b1 Ion #4, #5
ldy b7
mix b6
aeo b5
loc b4
aeo maj7
loc maj6
ion #5
dor #4
phy Maj3
lyd #2
mix #1 ( loc b4, bb7)
If you COMPREHEND it in ONE KEY at first....it'll be easier to play in other keys...
You can use these scale to shift keys..to ANY KEY from ANY KEYS
and shift the all 10 scales together to other keys...
or just borrow a chord from other scale..make it as easy as you want
Paint it as you wish....
OneEyE Monster What does the ‘b’ in b3 b7 b9 mean?
@@selinacheang it's flat3 flat5 and so on..
@@selinacheang b = FLAT , less, down
# = MORE or UP...
example #4 from A...play D# ( not the D) D# into E...... b5 play Eb into D....
That's very sad that your parents will not let you study music why
“This is probably Coltrane’s fault.”😂😂
Amazing as usual!
Thanks so much. So glad I found your website! You are telling all the things my jazz teacher is telling me and more. I will keep watching. Thanks again!
Brilliant! Thanks a lot!
Merci for this. It's out of my pay grade, but as I learn the piano, I'll keep it in mind.
It’s funny because I’d phrase your comment about melody and harmony exactly the opposite (the harmony is an extension of the melody), but I still agree with your explanation.
I’d like to add a concept that’s helped me: Find as close to the original sheet music or the original recording as possible. Even in the Real Book or other modern fake books, there are TONS of superfluous chords which have nothing to do with the original spine of the song, and may have been played on one famous recording, but will then limit the interpretations of every well-meaning student who faithfully plays the Real Book or iReal changes.
Most Songbook songs can be reduced to ii V I (tonacizing I, IV, V, or III) minor ii V i (tonacizing ii, iii, or vi) usage of iv minor, and usage of passing diminished chords. That’s really it in songs before the post-bop era. But you see all these ridiculous tritone subs and messily notated chords with unclear functions which have nothing to do with the real song
Best Jazz TH-cam channel! So so so underrated
Totally! I feel like this guy deserves waaaay more subscribers & views. Everything on this channel is concise and to the point. Helps everything stick. Especially with that upper left "info block".
As a guitarist I enjoy getting a different perspective and gleaning insight here. You might check out Richie Zellon (not sure I spelled it right) or Jens Larson for a guitar perspective.
6:05 repetition legitimizes repetition legitimizes repetition legitimizes
Always great to see another video/lesson from you WTB, insightful as always!
This was really helpful for somebody just getting into jazz piano. Thank you!
It's ok, I ended up writing notes on it because the tips were excellent!
Nimeu Don’t say the n word
Coming from guitar it blows my mind that for each chords progression you run into in piano you should practise them in all 12 keys, sounds like so much work 🤯
Thank you very much for this video. It is the gate for a new understanding of playing jazz on piano. Please continue.
Great video Anton as usual!
Resolving dissonant cords in the tune “Naima” by Coltrane , is a good example of rule #1.
On the topic of improvisation. I would totally love to see a Count Basie vs. John Coltrane jazz battle.
Been wanting to "jazz up" my musical abilities since ages, but did not find any recourses yet that fit my way of learning... Until this channel! Just stumbled onto your channel and instantly subscribed! I love your clear and structured way of explaining, with the combination of showing it by playing, explaining it by telling and summarizing it in tables and lists. Grateful for your work!!
MaRevasserie his website is better. There is a full course available for free.
Great advices and very well exposed, thank you!
I have a question: many teachers and books say to listen to a lot of jazz to learn jazz, but how do you listen to jazz in a way that actually helps your playing? Thanks again for your educational and informative videos. You are a great teacher!
Great list; and many of these double up with my experiences too. However, I wonder whether based on your simplification of theory to a discussion regarding harmonic consonance and dissonance means that theory lacks discussion regarding rhythm?
Very interesting and helpful- thank you. I’ve never understood the common advice to practise everything in all 12 keys from a return-on-practise time perspective (at least for a hobbyist). It’s obviously a great thing to do if you have the time but if you don’t practising tunes in their more commonly called keys and playing a greater variety of tunes (ideally covering all the keys in composite) seems like a more rewarding approach. I’d be curious to hear any thoughts people have on the rationale for the practise everything in all keys advice. Thanks, M
amazing class great information
i say to myself " play slowly then fast"
Thanks very useful. 🇫🇷
Applicable beyond music
Thanks a lot. Very helpful indeed.
Good video I like your style thanks for posting
What is your opinion about Kawai digital piano? Whats pros and cons. I am currently between 2 option of digital piano (yamaha p125 and kawai es110)
thanks! both hands, for both meloday and bass, practicing that way., every time i play a tune. sounds like good plan. got much advice on finering?
Thank you, sir
This was very helpful. I tried looking for the hard copy to print out, but I could not find it by clicking on either of the links under your video. Did you make one this time around?
I couldn't find it either.
haha, i love the suggestion to repeat your mistake so that people think it's intentional and you were just "creating tension." :)
What’s the best keyboard for beginner in playing jazz?
You should definitely buy a digital piano with weighted keys and 88 keys, you could go with yamaha p45 which is pretty good or the roland fp-10
"its coltrane's fault" HAHA thats sadly true
subscribed!
Can someone explain the benefit of practicing the melody in the left hand and learning scales in general with the left? The only thing i see people do is do walking basslines and comp chords with their left hands
Jehusafec short answer: bass lines and melodies are both made up of scales.
You mention guide tones, but what Are guide tones? What do they look like and sound like? It is difficult to learn by hearing new undefined terms and mere phrases and words.
i had never heard that term either but it's just the 3 and 7 of the chord. so as he said, E and B in CMAJ7. in C7, it would be E and Bb. In Adim7 it would be C and Gb. See? they sound kinda weird when you first hear them because you're not playing the root, but that's the jazz sound!
They're the tones that DEFINE a chord for example imagine if you want to build a Cmaj7 chord would be: C E G B
But you don't necessarily have to use the root or fifth degree aka the C or G because E and B are the notes that make the COLOR of that chord therefore GUIDE TONES
#4 is so important.
did you start out playing classical? if so, how long did it take you to get into the groove of jazz?
What's this guy's name and where is he from?
I remember when i went to Berklee, in the piano rooms, there was this writing on the wall "Music is easy, I am a master". what a troll
Give examples
Renaming this channel to "Talk That Bass"!
Sign the petition now!
Practice, listen, practice, listen ...
When did you first start getting into jazz piano?
Too much talking