I wish i'd found your lessons over thirty years ago lol, those days in the spanish countryside it was very hard to find proffesors, anyone, nor even books to teach you a single word about jazz harmony, voicing, techinques... The records and your ears, only and barely. It would have boost my understanding many years and saved me a lot of frustration, misconceptions and bad habits. Anyways it is never too late for learn and enjoy, thank you very much
I appreciate your affirmations and compliments. We can learn much from recordings, but I was fortunate to live near NYC and I heard live jazz and studied w/ great teachers. But what I offer is my own interpretations...nothing I learned exclusively from others...but what I learned by years of playing, studying, and teaching.
@MrZaZa3استاذ_زازع This is the way a chord sounds. You can have a C major as C, E, G (one voicing) or as a E, G, C, or as a E, C. Think of it as a different combination of notes that resemble the same chord. That's called voicing of a certain chord. Do, Re, Mi is used in some parts of the world (including Brazil, Italy, Bulgaria, etc). The C, D, E, F, ... is used mainly in the Western music industry. Being so wide-spread many of the countries where Do, Re, Mi, ... are used have adopted the C, D, E, F... as a notation for chords, but they still use Do, Re, Mi... for individual notes.
Hi Kent, I study jazz piano in a music school in Geneva, Switzerland; both harmony as well as playing in a septet swing clinic. I am not a very advanced player but I have come quite a long way since my complete beginner's beginnings two years ago. So far I have been comping with open harmonization. Next term we will have a bass player so I need to learn the rootless voicing techniques. Plus, it is hard to practice improvisation when the right hand is partially used playing the chords. Your videos have been super helpful in complementing and refreshing the material I learn during the lessons and that I need to practice during the week. Thank you for your amazing work and generosity in making your experience and musical expertise available to the community in such a way. I thoroughly enjoy your videos. They are academically advanced yet well explained, insightful and entertaining too. I have had plenty of "Wow! that's how you get those great sounds!" moments by watching your enjoyable videos. Thanks a million also for all the score sheets and exercises you kindly provide freely. I am enjoying the drop two and reharmonizing techniques, particularly "Over the Rainbow" and "Love me Tender". Cheers!
Kent, each day I watch two or three of your videos. Like being at a sumptuous banquet! You are the best teacher on TH-cam, a fabulous jazz pianist in my mind and generous beyond bounds. Not to mention one ultra cool cat! If Karma truly exists, you should be in great standing. Thanks so much!
To say that I'm the best teacher on TH-cam just means that I resonate with you...maybe because I'm older than most....there's so many great masters on YT better than me for you to learn from.
keith jarrett is with bill evans my favorite pianist. this is great an so well played with this beautiful colors and variable voicings. thanks kent for scharing this ,i learn more and more !
I had an interesting experience with K.Jarret.Was driving at the time, very excited he was in the car.Didn't say a word to him on route to the airport, when I got his bags out of the trunk, I excitedly said, Have a great trip Mr.Jarret!, to which he looked at my extended hand, turned around and walked into the airport....Now THAT was interesting to say the least!. He is a great player, but I don't think he was taught manners in his life.🤔🤨
Thanks again Kent. Easily the best jazz piano tutorials on the net...Your concise method of teaching combined with excellent camera work makes the lessons much easier to follow...
+Rex Chidgey Rex, I really appreciate that comment especially because all I'm using is a Canon Powershot S95, for video and sound. The piano is really nice however.
@@KentHewittpiano88 Less is more. When someone knows what he‘s doing and offering great content, a Powershot seems to be more than enough. 😉 Thanks for your work and generosity!
Thanks for the nice compliment. Please checkout my playlist page , click on the title captions to see each list. ...th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
+Lot2learn Thanks so much, Roger! I feel very honored when you write to me. You are one the greatest piano players and jazz improvisers I've heard, so when you compliment me, it is very affirming. I consider you a compadre and friend. Thanks for all you do and the joy you give to all of us... music and piano lovers.
Kent, you are way too generous with your compliments, but thank you. Your talent, playing and abilities are outstanding and it is a pleasure watching and learning from you. Thank you compadre.
+Lot2learn Yes, I know it's beautiful there...I was there on my first drive out- west. It borders a few different states? I also visited a girlfriend in Michigan once (the gal from Kalamazoo)... that's when I learned how friendly and nice mid-westerns are. I live on the shores of Long Island sound in CT. Let's keep in touch, brother!
Wow ...that was absolutely gorgeous Kent! Tonight I am checking out some of your earlier video's that I have not watched before... They all are the most valuable lessons on u tube ... This song was so beautifully played by you that I had to close my eyes and repeat and repeat it to capture all of it's grandeur and essence ! K. H. you are THE BEST.......
Kent....I'm so happy to have discovered you. Endless thanks for your awesome post and contributions to music lovers worldwide. Your videos inspire me to put my keyboard next to the computer and learn how to play these beautiful arrangements.
+Chuck Chuck, I can't tell you how much I appreciate that comment. This is just a labor of love for me, so comments like this keep me going. Please subscribe, give a thumbs up, and keep in touch. All the best, Kent
I'm glad to know that my videos help you to learn to play in a combo...it can be fun and challenging. Check my lists:th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Kent, what you're sharing is truly priceless for I can't tell you how many times I've sit and listened to this recording and didn't decipher anywhere near the voicing's you've noted. This video is a clear demonstration of left hand voicing's including extensions, i.e., "color tones." I'll now have to revisit this tune again from the beginning. I can't thank you enough for your efforts, especially regarding all things jazz piano, and Keith Jarrett! :) Nice Mason and Hamlin btw!
+pnojazz Thanks for the nice comment. Be sure to check out my Bill Evan's vids particularly the one on rootless voicings. th-cam.com/video/BgItQOto_5g/w-d-xo.html have my vids organized in playlists now for easy finding now if you click on it on my channel page.
just "finished" working through this video. in combination with the "my foolish heart" video on rootless voicings it was very VERY helpful. And what a beautiful tune! with the interlude now in my repertoire also, I couldn't be happier about it. on to the next one^^. Thanks. Rene
So many cool videos and I though this was June 2019 ... but its 2015 wow , this medium is a really good vehicle for teaching this and almost any other topic, thanks to Kent !
Kent, it's a tribute to the genius of Bill Evans that a rank amateur such as myself with limited technique can still sound good using the rootless voicings.
i want to say thanks for this. i got inspired to after watching this to download the lead sheet n work out the voicings myself. This video plus the other one u did on Bill Evans "my foolish heart" has really helped me so much. For years ive been wondering what these pianist have been playing and nowni have a fair idea. now its really great to play them
Hey, Fred...That's a great comment...and I'm grateful that you wrote to me. The best things in life are the things you work for and I'm happy to pass on my knowledge...because there's so much more we all have to learn now... in this current time and space.
+Victor V Thanks for the great comment! Rootless voicings create a beautiful tonality, particularly when played with a bass player. Thanks for subscribing...please check out my Bill Evans rootless voicings video on "My Foolish Heart."
Ken this was extremely helpful. Really appreciate you explaining this well. I have studied this theory and know the chords but am just now working on rootless voicings. Love Jaritt.
+David velleman You're welcome. Have you been there....and is that what you are referring to? Who did you hear? We have a great jazz club near us called The Sidedoor (at Old Lyme Inn).
Thank you so much for your excellent lesson ! l love you way of teaching despite i don't understand everything because of my english... Congrats from France.
+oasisdo Have to tried to click on the subtitles icon then click on settings icon, scroll down to change the language to French. That will generate subtitles in French of everything I'm saying. Thanks and enjoy!
Exposing me to Jarrett is so great, I can't thank you enough. The rootless voicings give the melody a haunting quality that takes it to a new level. Now can relate to standards I know vs jazz tines I don't know. I hear some Evans here too. Rt.?
+Lewis Martiniello That's very good. Jarrett got it from Evans who did it first. Check out my Evans videos esp.th-cam.com/video/BgItQOto_5g/w-d-xo.html Also here's a list of others: th-cam.com/play/PLFuMibnl_h5b37DxKoloWvmCIHWigatxf.html Thanks!
KJ claimed he had never heard of Bill Evans when someone said his work was similar. On the Bremen Lausanne album Keith says he is a conduit for the 'Creator' and so he believed that some of the music was coming from a higher consciousness or God which his mother had suggested I think. Chic Corea disagreed and said he thought "we create it in our heads". Keith had an interest in the paranormal and once visited the Pears lab at Princeton U which was an ESP experimentation lab. Someone once said that Keith seems to be able to find chords that others just don't see. His live composition/improvisation concerts at their best were mind blowing, Miles Davis could not understand how he 'played from nothing'. Thanks for your post.
I somehow missed this one when it came out (wasn't subscribed yet I guess) but gosh is it a helpful walk through of a gorgeous version of this tune. Thanks for this one KH.
Very intraspective Kent. Major helpful with inside movements. Love th 4th & 4th - esque' left hand formations. #9 to b9 resolution nice tip. Thx. Also, this tune is so similar to "Nancy" with the Smiling Face" - Sinatra
Hi David, thanks for the nice comment, great to hear from you. This is an early vid for me but I'm glad you found it and liked it. All the best. If you get a chance ...check out Keith's recording...amazing!
Kent such masterful teaching , logical from playing the tune first ... then taking melody harmony apart etc :) I studied Jazz harmony years ago so I know exactly what you are saying when relates to note or chords using the neighbour hood of 9th ( any kind ) , 11th ,(13th any kind} and so on. So many times I have you teaching in the backing ground while I am writing etc. I put a whole "Songwriters Workshop course together that i taught in the 90's and that was fun - especially when I started a new person by telling them we are going to start SIMPLE - which meant - writing whole NOTE melodies ( 4 notes to a bar ) and a with a ( 2 to 4 ) bar MOTIF . Well I tell you, how funny it was to hear over and over - do I have to start this SIMPLE ? I said well, if you are a "master melody " writer , no you don't !! HA
I hear you, Jake. I feel the same way. I believe you have to master the simple things before you move into the more complex or more interesting things. The foundation of your knowledge and talent needs to be there before you can innovate.
Are you asking do I have videos on tritone substation?. The answer is yes...many... ...please check out my playlists. th-cam.com/users/KentHewittpiano88playlists
Mr. Hewitt! Thank you SO much. Jarrett has been my favorite pianist for years, and you have wonderfully elucidated part of the reason that he is, on this fanatastic and educational vide. I ("we", based on all the comments below) really appreciate your efforts. NOW, where are you hiding the transcription? So that we can all have a written copy to work from?
Thanks so much for the comment. Here's the link to the leadsheet and interlude. storage.googleapis.com/wzukusers/user-26455100/documents/585d7944afa78jhZwbYK/It's%20Easy%20To%20Remember3.pdf
Herman Ingram Human experience is deep and tricky because humans and the universe are. Your's may be a cool quote... but if you stick it to the letter, ¿what would be the music that allows you to express the complete human experience? Blues, Rock, classic? I don't think so. Ok. Maybe at the end there is just one supergod particle that makes the universe to run. But this do not means the entire periodic table of elements it's not important. Imao
This is what I have. Go to my website for all free scores. Thanks for the comment. ....www.kenthewitt.com/sitebuildercontent/sitebuilderfiles/itseasytoremember3.pdf
Hi, Kent. My teacher taught me the tritone substitutions in all keys, and I know them cold. Whenever I encounter a dominant 7th. #9th, I simply play the tritone sub. (Which actually could be regarded as a b13th. With the original base.)
I revisiting jazz... I love it but I have been working on classical I'm not very good yet. . anyways. rootless voicings I use them all the time for convenience I play a c and eflat for f7 and ply the melody with rt hand.it works for me ..could this be a rootless voicings or am I missing something.. BTW I am going to try to perfect the use of the three different alt scales and respective dominants o. I plan to use it a mixed bag blues style..thanks again
Usually in a rootless chord you want a 3rd and 7th and a color tone (9-#11-13 ...5th is optional). Bill Evans played a C9/13 chord like this: A-Bb-D....3rd in melody.
The fifth bar of the Interlude is missing a flat in front of the E in the right hand (see 3:16) and a cautionary E natural would be nice at the start of the seventh bar (though it's not actually wrong)
That is very beautiful. Do you think he would have worked out that interlude beforehand, or was it spontaneous? Also would you say that generally default rootless voicing of left hand chords is 1st inversion position and 3rd inversion adding the 13 in both cases, as these seem easiest to find. I appreciate it will depend on context, but just generally.
+p1anosteve That's a good question. He may have worked out all of it or just a general concept of the reharmonization of the chords. A genius of his magnitude and talent in classical music may have improvised it. It is very beautiful After listening to that cut and hearing the beauty of the interlude, I had to try to figure it out. The 1st inversion and 3rd inversion are preferred and the ones most used. However I use all inversions and try to mix them up in a more unpredictable way. Thanks!
To me, Bill Evans plays more complex harmonically and Jarrett plays more complex improvisation. Jarrett learned a lot from Bill Evans as did most of the modern day players following him, like Chick and Herbie. I put Bill Evans in my top 5.
My all time top 5 Jazz pianists: Oscar Peterson, Erroll Garner, Bill Evans, Ahmad Jamal, Horace Silver. These are my personal favorites, it's a matter of one's own personal taste and influences.
+carmen d scrimalli Thanks for the comment. I'm not aware of any Keith Jarrett arrangements available for purchase. I have a lead sheet for this song on my website as a free download. It has Keith's chord changes and interlude. www.kenthewitt.com/ Please let me know if you can download it.
@@KentHewittpiano88 : Ha!..thanks; I just couldn't resist it; and I'd be very happy to be your quote writer by the way. Great channel you have here Kent..best of luck to you, in all you do.
pretty basic stuff but oh, how lovely it sounds. really easy on the ears, wouldn't you say? actually, these figurations aren't unique to Jarrett (Bill Evans used rootless voicings a lot and extended them even more than illustrated here), and they probably wouldn't be considered the ultimate calling cards for Jarrett's stylings and overall technique, but they are a helpful window into the kinds of approaches used in jazz piano. if Rogers/Hart listened to your solo, I'd bet they'd say, "Man, I didn't know we wrote something so beautiful." Such is the seductiveness and beauty of jazz.
Thank you, sir. Your perceptions are deep and accurate. We can never duplicate the stylings of geniuses, because we are not on their level...and if we were, we'd only be dealing with our own stylings. This is only a hint....but because I studied his left hand voicings, I'm happy to pass on what I have learned.... and what we can possibly learn.... from those on the genius level. What you see...that you are not getting from the artist, ...but from me ...is an analysis and explanation of what they are doing. I try to put my best analysis into these videos.
Interesting to also get into your opinion about this really big artists! Some would say the concept of genius was created in a spectacularized and mercadology sense.. but sure there's more than that, right? Why they go so much further then the rest? Life is supposed to be boundless, only depending on our dedication, in the other hand..
Just my opinion but Jarrets standards playing I'd just watered down Bill Evans But I'm an Evavns freak Saw him play over 20 times Met him twice Only listened to Bill for about a year
If I'm not mistaken, without the lower major third there wouldn't be the dissonance with the sharp 9th above that gives the chord its unique striking character. Without wanting to sound facetious and completely out of context, isn't this the "Jimi Hendrix Chord", the 1 of the 1,4,5 of the Purple Haze fame? Lower D (bass) F#,C,F (3,7,9#)?
Totally wrong, functionally a raised 9 is what it is, an augmented second above the root, whereas a chord quality is defined by the third, on this case a major 3.
The so-called 'rootless 9th chord' is nothing more than a garden variety inverted major seventh chord. Why do jazz people have to over-complicate things?
Do you really think Mr Hewitt doesn't recognize the notes of a Bbmaj7. 'Jazz people' want to know a chord's function more so than it's label. Context is everything in jazz. Leave your ego at the door and you may learn something
I wish i'd found your lessons over thirty years ago lol, those days in the spanish countryside it was very hard to find proffesors, anyone, nor even books to teach you a single word about jazz harmony, voicing, techinques... The records and your ears, only and barely. It would have boost my understanding many years and saved me a lot of frustration, misconceptions and bad habits. Anyways it is never too late for learn and enjoy, thank you very much
I appreciate your affirmations and compliments. We can learn much from recordings, but I was fortunate to live near NYC and I heard live jazz and studied w/ great teachers. But what I offer is my own interpretations...nothing I learned exclusively from others...but what I learned by years of playing, studying, and teaching.
@MrZaZa3استاذ_زازع This is the way a chord sounds. You can have a C major as C, E, G (one voicing) or as a E, G, C, or as a E, C. Think of it as a different combination of notes that resemble the same chord. That's called voicing of a certain chord. Do, Re, Mi is used in some parts of the world (including Brazil, Italy, Bulgaria, etc). The C, D, E, F, ... is used mainly in the Western music industry. Being so wide-spread many of the countries where Do, Re, Mi, ... are used have adopted the C, D, E, F... as a notation for chords, but they still use Do, Re, Mi... for individual notes.
I second that!
Hi Kent, I study jazz piano in a music school in Geneva, Switzerland; both harmony as well as playing in a septet swing clinic. I am not a very advanced player but I have come quite a long way since my complete beginner's beginnings two years ago. So far I have been comping with open harmonization. Next term we will have a bass player so I need to learn the rootless voicing techniques. Plus, it is hard to practice improvisation when the right hand is partially used playing the chords. Your videos have been super helpful in complementing and refreshing the material I learn during the lessons and that I need to practice during the week. Thank you for your amazing work and generosity in making your experience and musical expertise available to the community in such a way. I thoroughly enjoy your videos. They are academically advanced yet well explained, insightful and entertaining too. I have had plenty of "Wow! that's how you get those great sounds!" moments by watching your enjoyable videos. Thanks a million also for all the score sheets and exercises you kindly provide freely. I am enjoying the drop two and reharmonizing techniques, particularly "Over the Rainbow" and "Love me Tender". Cheers!
This is a great video to get different ideas from. Your style is what 90% of "piano players" wants to be able to play. You're the real deal
Thanks for the great compliment....and I agree!
Kent, each day I watch two or three of your videos. Like being at a sumptuous banquet! You are the best teacher on TH-cam, a fabulous jazz pianist in my mind and generous beyond bounds. Not to mention one ultra cool cat! If Karma truly exists, you should be in great standing. Thanks so much!
To say that I'm the best teacher on TH-cam just means that I resonate with you...maybe because I'm older than most....there's so many great masters on YT better than me for you to learn from.
keith jarrett is with bill evans my favorite pianist. this is great an so well played with this beautiful colors and variable voicings. thanks kent for scharing this ,i learn more and more !
+mauro morandini That's a great comment and compliment. It's affirming for me and "keeps me going". Thanks!!!
I had an interesting experience with K.Jarret.Was driving at the time, very excited he was in the car.Didn't say a word to him on route to the airport, when I got his bags out of the trunk, I excitedly said, Have a great trip Mr.Jarret!, to which he looked at my extended hand, turned around and walked into the airport....Now THAT was interesting to say the least!. He is a great player, but I don't think he was taught manners in his life.🤔🤨
eternally useful ! To explain this complicated thinking is a real gift
I really appreciate the compliment, Chuck!
Lovely,, Kent you are a master of not only the music you play and love but as an educator... Many thank you's
Great comment...much appreciated!
Thanks again Kent. Easily the best jazz piano tutorials on the net...Your concise method of teaching combined with excellent camera work makes the lessons much easier to follow...
+Rex Chidgey Rex, I really appreciate that comment especially because all I'm using is a Canon Powershot S95, for video and sound. The piano is really nice however.
@@KentHewittpiano88 Less is more. When someone knows what he‘s doing and offering great content, a Powershot seems to be more than enough. 😉 Thanks for your work and generosity!
your piano always has such a bright and happy sound. I really enjoyed listening and watching you play on that magnificent instrument.
I like your site and, I appreciate you don`t
let pop-ups in !!! thank you so much !!!
What are pop-ups? (just kidding...thanks!)
Beautiful sound + beautiful teaching = beautiful soul. Thank you
My deepest humble thanks for the comment!
Just the right touch and sound. Not too much distractions here. Just perfect example with just the necessary commentary and instruction.
Very nice, Kent, just found this older video of you, with these 2, 3 tweaks out of the expected that make it a real joy, thank you for your analysis
wow! Thanks Kent, this is the stuff that keeps me wanting to keep the ,faith, even at my at my age , seriously...
Kim Stephens. Wow that was absolutely lovely. I'm on my sons tablet he's learning from you, what an honor.
Thanks for the nice compliment. Please checkout my playlist page , click on the title captions to see each list. ...th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
keep up the good work, Kent. Always a pleasure to watch your videos, Nick
I appreciate your taking the time to give me a compliment...many thanks!
Wow, really beautifully played Kent!
+Lot2learn Thanks so much, Roger! I feel very honored when you write to me. You are one the greatest piano players and jazz improvisers I've heard, so when you compliment me, it is very affirming. I consider you a compadre and friend. Thanks for all you do and the joy you give to all of us... music and piano lovers.
Kent, you are way too generous with your compliments, but thank you. Your talent, playing and abilities are outstanding and it is a pleasure watching and learning from you. Thank you compadre.
+Lot2learn I realize by your comment that we truly are compadres. It would be great to meet you someday. Where are you located?... the Midwest?
Yes, on the beautiful shores of Lake Erie. :-)
+Lot2learn Yes, I know it's beautiful there...I was there on my first drive out- west. It borders a few different states? I also visited a girlfriend in Michigan once (the gal from Kalamazoo)... that's when I learned how friendly and nice mid-westerns are. I live on the shores of Long Island sound in CT. Let's keep in touch, brother!
Wow ...that was absolutely gorgeous Kent! Tonight I am checking out some of your earlier video's that I have not watched before...
They all are the most valuable lessons on u tube ... This song was so beautifully played by you that I had to close my eyes and repeat and repeat it to capture all of it's grandeur and essence ! K. H. you are THE BEST.......
Thanks, Phyllis!If you like this you should get the recording of Keith playing it. It's a great cut from Live at the Dear Head Inn.
@@KentHewittpiano88 I certainly will get that recording - the song is so moving!
I am really getting rootless chords with your help. Thanks much.
Wonderful!
Kent....I'm so happy to have discovered you. Endless thanks for your awesome post and contributions to music lovers worldwide. Your videos inspire me to put my keyboard next to the computer and learn how to play these beautiful arrangements.
+Chuck Chuck, I can't tell you how much I appreciate that comment. This is just a labor of love for me, so comments like this keep me going. Please subscribe, give a thumbs up, and keep in touch. All the best, Kent
Your videos are the best, simply couldn't better.
That's a great compliment and appreciated!
Great video and excellent playing. Will be back for more!
+Max Roache I'm glad you are enjoying my videos. Please subscribe and give a thumbs up. Thanks!
Great lesson. Thanks again for your good work. I'm learning to play in a combo and these videos are helping a lot
I'm glad to know that my videos help you to learn to play in a combo...it can be fun and challenging. Check my lists:th-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Kent, what you're sharing is truly priceless for I can't tell you how many times I've sit and listened to this recording and didn't decipher anywhere near the voicing's you've noted.
This video is a clear demonstration of left hand voicing's including extensions, i.e., "color tones." I'll now have to revisit this tune again from the beginning. I can't thank you enough for your efforts, especially regarding all things jazz piano, and Keith Jarrett! :)
Nice Mason and Hamlin btw!
+pnojazz Thanks for the nice comment. Be sure to check out my Bill Evan's vids particularly the one on rootless voicings. th-cam.com/video/BgItQOto_5g/w-d-xo.html have my vids organized in playlists now for easy finding now if you click on it on my channel page.
Excellent, and your arrangement was fantastic.
Thank you, I owe that all to Keith Jarrett.
Thank you so for the great tutelage. You are a fine teacher.
+Frank Cross That video is the only one I've seen in that category, so I value your comment very much!
just "finished" working through this video. in combination with the "my foolish heart" video on rootless voicings it was very VERY helpful. And what a beautiful tune! with the interlude now in my repertoire also, I couldn't be happier about it. on to the next one^^. Thanks. Rene
So many cool videos and I though this was June 2019 ... but its 2015 wow , this medium is a really good vehicle for teaching this and almost any other topic, thanks to Kent !
Thanks, Jake. That's really cool when you are commenting on my older videos. I try to bring back some of the older ones for posterity.
Kent, it's a tribute to the genius of Bill Evans that a rank amateur such as myself with limited technique can still sound good using the rootless voicings.
i want to say thanks for this. i got inspired to after watching this to download the lead sheet n work out the voicings myself. This video plus the other one u did on Bill Evans "my foolish heart" has really helped me so much. For years ive been wondering what these pianist have been playing and nowni have a fair idea. now its really great to play them
Hey, Fred...That's a great comment...and I'm grateful that you wrote to me. The best things in life are the things you work for and I'm happy to pass on my knowledge...because there's so much more we all have to learn now... in this current time and space.
Your lesson is super amazing!! Thank you for teaching!!
+Victor V Thanks for the great comment! Rootless voicings create a beautiful tonality, particularly when played with a bass player. Thanks for subscribing...please check out my Bill Evans rootless voicings video on "My Foolish Heart."
Absolutely lovely
Thanks again!
This is really informative for me. Thanks Kent.
+Lee Clarke Hi Lee, thanks for the comment! I'm really glad you're enjoying my tutorials.
Ken this was extremely helpful. Really appreciate you explaining this well. I have studied this theory and know the chords but am just now working on rootless voicings. Love Jaritt.
Hey Mark, I love what he did on this song...and he always comes up amazing things that are very original. The interlude is beautiful.
amazing thank you very much!! i never ever would have figured that one out on my on!
What a beautiful song!
It is, and thanks for the comment!
Thank you so much!!! Deer Head is AMAZING!!!
+David velleman You're welcome. Have you been there....and is that what you are referring to? Who did you hear? We have a great jazz club near us called The Sidedoor (at Old Lyme Inn).
Excellent choice Kent, when I heard that version, was moved and saw that it would be good a place find alternate voicings fro the guitar, well done!
I appreciate the comment, especially from a guitar player.
@@KentHewittpiano88 thank you Kent and generosity, you've a gift at giving clear expositions of the medium, truly appreciated!
Master Hewitt nice to see and Hear you
Thanks so much! Nice to see you too!
Excellent, I think I enjoyed it more than the actual performance!
Do you mean my explanation vs. my performance...or do you mean KJ's performance?
I meant that I really liked your explanation and performance better than KJ's performance! I also like your Bill Evans analysis. Great job!
Beautiful!
Thank you so much for your excellent lesson ! l love you way of teaching despite i don't understand everything because of my english... Congrats from France.
+oasisdo Have to tried to click on the subtitles icon then click on settings icon, scroll down to change the language to French. That will generate subtitles in French of everything I'm saying. Thanks and enjoy!
Very nice breakdown!!!!!
+phanjazm j Many thanks for the comment! That's one of my personal favorites, because I love what he did with it.
Exposing me to Jarrett is so great, I can't thank you enough. The rootless voicings give the melody a haunting quality that takes it to a new level. Now can relate to standards I know vs jazz tines I don't know. I hear some Evans here too. Rt.?
+Lewis Martiniello That's very good. Jarrett got it from Evans who did it first. Check out my Evans videos esp.th-cam.com/video/BgItQOto_5g/w-d-xo.html
Also here's a list of others: th-cam.com/play/PLFuMibnl_h5b37DxKoloWvmCIHWigatxf.html Thanks!
KJ claimed he had never heard of Bill Evans when someone said his work was similar.
On the Bremen Lausanne album Keith says he is a conduit for the 'Creator' and so he believed that some of the music was coming from a higher consciousness or God which his mother had suggested I think. Chic Corea disagreed and said he thought "we create it in our heads".
Keith had an interest in the paranormal and once visited the Pears lab at Princeton U which was an ESP experimentation lab.
Someone once said that Keith seems to be able to find chords that others just don't see. His live composition/improvisation concerts at their best were mind blowing, Miles Davis could not understand how he 'played from nothing'. Thanks for your post.
Excellent, Kent!
Thanks so much!
I somehow missed this one when it came out (wasn't subscribed yet I guess) but gosh is it a helpful walk through of a gorgeous version of this tune. Thanks for this one KH.
I appreciate the nice comment and affirmation!
wow.beautiful.Thank you so much.
Thanks for the comment!
Very intraspective Kent. Major helpful with inside movements. Love th 4th & 4th - esque' left hand formations. #9 to b9 resolution nice tip. Thx. Also, this tune is so similar to "Nancy" with the Smiling Face" - Sinatra
Hi David, thanks for the nice comment, great to hear from you. This is an early vid for me but I'm glad you found it and liked it. All the best. If you get a chance ...check out Keith's recording...amazing!
Kent such masterful teaching , logical from playing the tune first ... then taking melody harmony apart etc :) I studied Jazz harmony years ago so I know exactly what you are saying when relates to note or chords using the neighbour hood of 9th ( any kind ) , 11th ,(13th any kind} and so on. So many times I have you teaching in the backing ground while I am writing etc.
I put a whole "Songwriters Workshop course together that i taught in the 90's and that was fun - especially when I started a new person by telling them we are going to start SIMPLE - which meant - writing whole NOTE melodies ( 4 notes to a bar ) and a with a ( 2 to 4 ) bar MOTIF .
Well I tell you, how funny it was to hear over and over - do I have to start this SIMPLE ? I said well, if you are a "master melody " writer , no you don't !! HA
I hear you, Jake. I feel the same way. I believe you have to master the simple things before you move into the more complex or more interesting things. The foundation of your knowledge and talent needs to be there before you can innovate.
Kent, you play beautifully.
Appreciated!
Thanks for posting.
Very helpful video. Makes it easier to learn than getting it from the CD.
Glad it was helpful!
Hello Sir, I have benefited alot from your TH-cam lessons....but I wonder if you have ever tackled the whole tone(tritone) passing chords
Are you asking do I have videos on tritone substation?. The answer is yes...many... ...please check out my playlists.
th-cam.com/users/KentHewittpiano88playlists
Mr. Hewitt! Thank you SO much. Jarrett has been my favorite pianist for years, and you have wonderfully elucidated part of the reason that he is, on this fanatastic and educational vide. I ("we", based on all the comments below) really appreciate your efforts. NOW, where are you hiding the transcription? So that we can all have a written copy to work from?
Thanks so much for the comment. Here's the link to the leadsheet and interlude. storage.googleapis.com/wzukusers/user-26455100/documents/585d7944afa78jhZwbYK/It's%20Easy%20To%20Remember3.pdf
Thanks very much for this and for the interlude especially. Really has that Keith Jarrett sound that I'm so keen to understand.
Yes, and anytime to can pick a great musician's brain, you will find inspiration and a revelation.
It's hard to express the totality of the human experience when one is obsessed with being cool. Jazz is all about being 'cool'.
+Herman Ingram Just do what comes natural and if it come out cool....then all the better. Thanks!
Herman Ingram Human experience is deep and tricky because humans and the universe are.
Your's may be a cool quote... but if you stick it to the letter, ¿what would be the music that allows you to express the complete human experience? Blues, Rock, classic? I don't think so. Ok. Maybe at the end there is just one supergod particle that makes the universe to run. But this do not means the entire periodic table of elements it's not important. Imao
The comments I made about Bill Evans rootless voicings also apply here. Brilliant.
Thank you!!
would you have a transcription? great job
This is what I have. Go to my website for all free scores. Thanks for the comment. ....www.kenthewitt.com/sitebuildercontent/sitebuilderfiles/itseasytoremember3.pdf
Kent Hewitt
Hi. I'm getting an error trying to access your website. Many thanks in advance!
Kent Hewitt looks like the URL is down?
Check his repo www.kenthewitt.com/free-music-downloads. Lot of songs there
excellent thank you....
Humble thanks!
Hi, Kent. My teacher taught me the tritone substitutions in all keys, and I know them cold. Whenever I encounter a dominant 7th. #9th, I simply play the tritone sub. (Which actually could be regarded as a b13th. With the original base.)
Do you mean the b5 or #11? If you play a C7#9 and substitute the Gb in the bass, you have the tritone sub. in a dominant 13th voicing.
thanks so much .. I Love Ryu fukui playing, do you think you could cover one of his song in a next video ?
I'll check it out!
@@KentHewittpiano88 Amazing ! thanks a lot Mr Hewitt
I revisiting jazz... I love it but I have been working on classical I'm not very good yet. . anyways. rootless voicings I use them all the time for convenience I play a c and eflat for f7 and ply the melody with rt hand.it works for me ..could this be a rootless voicings or am I missing something.. BTW I am going to try to perfect the use of the three different alt scales and respective dominants o. I plan to use it a mixed bag blues style..thanks again
Usually in a rootless chord you want a 3rd and 7th and a color tone (9-#11-13 ...5th is optional). Bill Evans played a C9/13 chord like this: A-Bb-D....3rd in melody.
tx really well explain
Thanks!
Beautiful. Great video, too. Is the pdf still available?
The PDF that I have is here...thanks! storage.googleapis.com/wzukusers/user-26455100/documents/585d7944afa78jhZwbYK/It's%20Easy%20To%20Remember3.pdf
The fifth bar of the Interlude is missing a flat in front of the E in the right hand (see 3:16) and a cautionary E natural would be nice at the start of the seventh bar (though it's not actually wrong)
Great thank you and beautiful. First chord is-- Fmaj496, C79, Gm79? So what's best to call it? The 2 chord in F I guess?
Sorry I interrupted without watching the whole thing. I see better now.
If I remember correctly it's a Gm9 in 3rd inversion. ( flat 7th on bottom)
That is very beautiful. Do you think he would have worked out that interlude beforehand, or was it spontaneous? Also would you say that generally default rootless voicing of left hand chords is 1st inversion position and 3rd inversion adding the 13 in both cases, as these seem easiest to find. I appreciate it will depend on context, but just generally.
+p1anosteve That's a good question. He may have worked out all of it or just a general concept of the reharmonization of the chords. A genius of his magnitude and talent in classical music may have improvised it. It is very beautiful After listening to that cut and hearing the beauty of the interlude, I had to try to figure it out. The 1st inversion and 3rd inversion are preferred and the ones most used. However I use all inversions and try to mix them up in a more unpredictable way. Thanks!
Kent, we are going to next week. Know of any jazz pianists playing?
Check the New Yorker magazine...they list the jazz clubs and bookings in the front section.
What's the difference between Jarrets harmonies and those of Bill Evans?
To me, Bill Evans plays more complex harmonically and Jarrett plays more complex improvisation. Jarrett learned a lot from Bill Evans as did most of the modern day players following him, like Chick and Herbie. I put Bill Evans in my top 5.
I agree
Liked your videos on waltz for Denny and time for love
My all time top 5 Jazz pianists: Oscar Peterson, Erroll Garner, Bill Evans, Ahmad Jamal, Horace Silver. These are my personal favorites, it's a matter of one's own personal taste and influences.
almost the same as my list but I stop at 4- oscar, bill, tatum and garner
Not a bad choice!
Thank You Kent-Was Wondering If It Is Possible To Purchase The Sheet Music Anywhere For These "Keith" Tunes??
+carmen d scrimalli Thanks for the comment. I'm not aware of any Keith Jarrett arrangements available for purchase. I have a lead sheet for this song on my website as a free download. It has Keith's chord changes and interlude. www.kenthewitt.com/ Please let me know if you can download it.
+Kent Hewitt DId you personally trranscribe this tune or did you find it through research?
Would you have a transcription? Thanks
Yes, go to Free Downloads on my website...let me know!
ok is this explained in key of Fmajor or Gmajor? Please and thanks. Lovely playing!
Thank you...he played it in G but I prefer it in F. Evans frequently played songs in a different key than the original.
:52 you Play F7/D. thath chord kits usually played by many musicians...can you xplain about that please?
I have a video that covers "Stacked Chords". Let me know. th-cam.com/video/RM7wLkAgV5M/w-d-xo.html
Do you do lessons? I live a short distance from Old Lyme
I do, and I live in Waterford. Send me an email.
Have you got a pdf ?
Write to my email.
IT'S A DIFFICULT ADVANCED EXPLANATION! MAYBE i HAVE TO WATCH IT IN THE MORNING,BUT VERY SOFISTICATED HARMONY!
I notice your video Bill Evans Waltz for Debby Excelent!
+Rolf Westerberg Thanks for watching my videos. I hope you will subscribe and give a thumbs up.
I've forgotten how to play 'It's Easy To Remember'
You can be my quote writer, I love that!
@@KentHewittpiano88 : Ha!..thanks; I just couldn't resist it; and I'd be very happy to be your quote writer by the way. Great channel you have here Kent..best of luck to you, in all you do.
🙋♂️👍☺
Thank you!
huge player , what else can we say ?
You're speaking about Keith Jarrett, of course...I agree! One of the greatest of all time.
A very dificult playing perfotmance but that KJ does it apparently easy
I want to play like Bill Evans!
Rolf Westerberg Thanks for the comment. Bill Evans was one of my big influences. Did you also check out my video on Bill Evans' Waltz For Debby?
Yikes Kent, great ear training; never mind the harmony lesson! Major 7ths and 9ths will never be the same!
Never be the same....that's how I feel every day.
pretty basic stuff but oh, how lovely it sounds. really easy on the ears, wouldn't you say? actually, these figurations aren't unique to Jarrett (Bill Evans used rootless voicings a lot and extended them even more than illustrated here), and they probably wouldn't be considered the ultimate calling cards for Jarrett's stylings and overall technique, but they are a helpful window into the kinds of approaches used in jazz piano. if Rogers/Hart listened to your solo, I'd bet they'd say, "Man, I didn't know we wrote something so beautiful." Such is the seductiveness and beauty of jazz.
Thank you, sir. Your perceptions are deep and accurate. We can never duplicate the stylings of geniuses, because we are not on their level...and if we were, we'd only be dealing with our own stylings. This is only a hint....but because I studied his left hand voicings, I'm happy to pass on what I have learned.... and what we can possibly learn.... from those on the genius level. What you see...that you are not getting from the artist, ...but from me ...is an analysis and explanation of what they are doing. I try to put my best analysis into these videos.
Interesting to also get into your opinion about this really big artists! Some would say the concept of genius was created in a spectacularized and mercadology sense.. but sure there's more than that, right? Why they go so much further then the rest? Life is supposed to be boundless, only depending on our dedication, in the other hand..
Nyc
Monk, 5 Spot, 1962, I was there.
Just my opinion but Jarrets standards playing I'd just watered down Bill Evans
But I'm an Evavns freak
Saw him play over 20 times
Met him twice
Only listened to Bill for about a year
I saw Bill at the Vanguard with Gary Peacock, Paul Motian. Top 3 pianists alive today: Herbie, Chick, and Jarrett.
A raised ninth is nothing more than a minor third.
There needs to be a major third below it in the chord built: 1-3-5-b7-#9. In a rootless chord you omit the root and 5th.
If I'm not mistaken, without the lower major third there wouldn't be the dissonance with the sharp 9th above that gives the chord its unique striking character. Without wanting to sound facetious and completely out of context, isn't this the "Jimi Hendrix Chord", the 1 of the 1,4,5 of the Purple Haze fame? Lower D (bass) F#,C,F (3,7,9#)?
Totally wrong, functionally a raised 9 is what it is, an augmented second above the root, whereas a chord quality is defined by the third, on this case a major 3.
The so-called 'rootless 9th chord' is nothing more than a garden variety inverted major seventh chord.
Why do jazz people have to over-complicate things?
My question to you is: did this video have any value for you?
Do you really think Mr Hewitt doesn't recognize the notes of a Bbmaj7.
'Jazz people' want to know a chord's function more so than it's label. Context is everything in jazz. Leave your ego at the door and you may learn something