Actually if you go to the end of the vid you’ll see that the lick that was executed in “one take” I had a lot of trouble with the day before, I played it over and over...
I ve almost felt like giving up on my ear each i time i watch Sean and keeps wondering how he figures out chords at an instant.. But this behind the scene brought back hope to me😅
I think he simply plays the #5 because it falls naturally inside the Abm scale, as a dominant chord, you find these chords sometimes, like E7/C leading to Am, in that case Eb/B. But I am probably wrong.
The B Maj chord thing is borrowing diminished notes that resolve via half step to the B Maj. This concept is straight from Barry Harris's diminished 6th scale. Ive been a struggling jazz pianist for a while, trying to cheat and cut corners to sound better. But I've come to realize if you want to be an advanced player, you have to at least have some concept of Barry Harris teachings. It cant be avoided. Well done sir.
@@ermharriableOk, listen up. You see at 14:19 you have the voicing C, Ab and B? Try keeping the C in place, but just move the Ab down a 1/2 step to G, and B a whole step to A. What chord is that right there? That's C Maj 6, with a nice Crushed 2nd. Now keep the C again but move the G and A to F and Ab... Keep going. You see what you're doing taking it from the original C, Ab and B is that the Ab and B are really the Flat 9 and the 3rd of G. So what you're doing with that is constantly moving back and forth from C6 to G7 b9 or you can call it B fully Diminished. The Ab and B have been BORROWED from the D Diminished chord, ( D, F, Ab, B) So harmonically you have this Flat 9 / Diminished, sound that wants to resolve, always trying to move to a tonic type sound. G7 b9, D Diim, F Dim, Ab Dim ---- All the Same Chord, inverted. In Barry Harris 6th dim scale, the ONLY difference between his and the common, ionian Major scale is the addition of the #5!. If you really want to be a jazz pianist, the Barry Harris stuff is just a must. I hope this helps.
Allen Kim -i understand Barry Harris and his 6th dim scale ideas. However, in this example wouldn’t it be a lot easier to view it as Bmajor7#5 chord. It derives from Ab melodic minor. Seeing how Ab minor is the tonal center it’s just modal interchange. Corey is moving from Ab minor to Ab melodic minor. And the Bmajor7#5 is simply the 3rd scale degree of that scale.(Lydian Augmented). Not to mention a 7b9 sound wants to resolve usually to a minor chord not a major chord. Your example is C6 to Dim(G7b9) or referencing the actual song B6 to Dim(Gb7b9). The song is in Ab minor not Ab major 6
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Man your transcription skills is on point 🔥🔥🔥 and you’re a patient man, to sit and workout all that, great job 👍🏽
You hit the nail on the head man!! It’s more patience then talent most of the time, going note by note 🐌
Sean Wilson Piano yeah man, I don’t have that level of patience 😂
That Cory Henry video is so awesome, that represend human kind creativity, just beautiful.
Cory is great , that we know. But how you’re able to nail everything in one take is amazing
Actually if you go to the end of the vid you’ll see that the lick that was executed in “one take” I had a lot of trouble with the day before, I played it over and over...
I listen to this performance everyday, its crazy to see someone transcribe it. His movements are so crisp. This is great!!!
Proud of you man I remember when it was only like 50-60 of us subscribed now over 21,000 shows hard work and Consistenty do pay off
Man for real! I'm still trying to figure out where all these folks coming from! Definitely honored man, I don't take it for granted doc...
Wow just finding this channel. Very informative. I been practicing on this song trying to learn it. Thanks for sharing!
Amazing class. Thanks for posting!
Wow, thanks for taking the time to break it down! That was awesome, so helpful and insightful. Keep doing what you're doing.
Sean, you are a Genius.
Cory Henry is one of the few musicians that can improvise all they like while remaining true to the song
Sean you ROCK,!.......Much appreciated!
Thanks much bro!
I ve almost felt like giving up on my ear each i time i watch Sean and keeps wondering how he figures out chords at an instant.. But this behind the scene brought back hope to me😅
Nice. Timothy Gondola's transcription was on point too.
Great vid, Sean! There’s always something yo learn from the Master Cory Henry.
You already know man!
Great work Sean
Thanks man
This was so inspiring and helpful
The spelling is Montreux bro. I was at that workshop. Was dope seing Cory play live. True Genius. And you always killin with them transcriptions.
U have a very unique and rare listening ability
Thanks a lot! I learned a lot.
WHAT! You havent taken music classes!!! Bro, imma sign up just based on that!
good job
I think he simply plays the #5 because it falls naturally inside the Abm scale, as a dominant chord, you find these chords sometimes, like E7/C leading to Am, in that case Eb/B. But I am probably wrong.
Thanks Bro!
Sean, whats your transcription process? Do you transcribe using midi, or write it out? I love this!
ah cool just watching the end of the video!
Yep, that’s exactly what I did to get these notes on the screen
I need help with Golden State by Yellowjackets. Can you do that one?
Got that Gravity Falls Sound going!!!!
muito bom
😩🙏🏽👏🏽
When he punched the piano T.T
7:30 looks like an altered scale. Except the bass note isn't the starting note
How did you learn how to transcribe?
I didn’t... I just started *not joking, that’s it
4:26
The B Maj chord thing is borrowing diminished notes that resolve via half step to the B Maj. This concept is straight from Barry Harris's diminished 6th scale. Ive been a struggling jazz pianist for a while, trying to cheat and cut corners to sound better. But I've come to realize if you want to be an advanced player, you have to at least have some concept of Barry Harris teachings. It cant be avoided. Well done sir.
Allen Kim - guess I don’t see any diminished chords being borrowed on that Bmajor#5 voicing?
@@ermharriableOk, listen up. You see at 14:19 you have the voicing C, Ab and B? Try keeping the C in place, but just move the Ab down a 1/2 step to G, and B a whole step to A. What chord is that right there? That's C Maj 6, with a nice Crushed 2nd. Now keep the C again but move the G and A to F and Ab... Keep going. You see what you're doing taking it from the original C, Ab and B is that the Ab and B are really the Flat 9 and the 3rd of G. So what you're doing with that is constantly moving back and forth from C6 to G7 b9 or you can call it B fully Diminished. The Ab and B have been BORROWED from the D Diminished chord, ( D, F, Ab, B) So harmonically you have this Flat 9 / Diminished, sound that wants to resolve, always trying to move to a tonic type sound. G7 b9, D Diim, F Dim, Ab Dim ---- All the Same Chord, inverted. In Barry Harris 6th dim scale, the ONLY difference between his and the common, ionian Major scale is the addition of the #5!. If you really want to be a jazz pianist, the Barry Harris stuff is just a must. I hope this helps.
Allen Kim -i understand Barry Harris and his 6th dim scale ideas. However, in this example wouldn’t it be a lot easier to view it as Bmajor7#5 chord. It derives from Ab melodic minor. Seeing how Ab minor is the tonal center it’s just modal interchange. Corey is moving from Ab minor to Ab melodic minor. And the Bmajor7#5 is simply the 3rd scale degree of that scale.(Lydian Augmented). Not to mention a 7b9 sound wants to resolve usually to a minor chord not a major chord. Your example is C6 to Dim(G7b9) or referencing the actual song B6 to Dim(Gb7b9). The song is in Ab minor not Ab major 6
Great video man! Cory utilized multiple chords and runs from the melodic minor scale including that B aug Major 7th. It's really great to see that.
Sean do you usually load the video/track into your DAW as a WAV or audio file first when transcribing?
Yes
good job