What a fabulous lesson .. breaking the song down to its harmonic ‘ skeleton’ really helps open up some new possibilities ( and makes transposing much easier because you know where you’re headed) Thanks so much, Peter !! ❤🎹
Over the years, I've learned enough about different chord qualities to 'fake it till I make it'. I can make a standard like All The Things You Are sound reasonably pretty. But, there's always been part of me that really has wanted to figure out how to really ' play '. I think that this helps
Same here! I can play wallpaper for a wedding reception just fine, but I'm pushing 60 and still reaching for that next level of, like you say, really playing. Peter has this amazing combination of effortless spontaneity and deep thought that makes him a great teacher. I'm only ten minutes in to this video, but it feels like he's showing us a path I can't wait to follow. better put this on repeat :) Peace!
Just came from a summer jazz workshop and we did All the things you are extensively - here is a funny reharm. 1st chord hold the bass (F) and melody (Ab) and realize the inner voices (C, G, Ab, Bb, Eb for example). Now slide the inner voices up a half-tone, leave the bass and melody the same. Tell me what you think. :)
Brilliant lesson, loved it. Listening to how crisp every note Peter plays and the emphasis and accent on specific tones blows me away. Something lacking in my own finger work I’m trying to rectify. Finding new lines and how to approach those reference points.
Awesome lesson as always! If you're actually gonna take your wife to Switzerland let me know if you need a tourguide. Thanks for all the valuable content you guys keep putting out!
Great class as always, thank you so much! I am very sceptic too about that said that Sonny Rollins sometimes wrote his solos beforehand. Maybe some kind of exercise as Peter well said or arrangement to play that day or something... or plain misinformation, we would need incontrovertible proof, two records with the same "improvised" solo. A guy capable of, among many other incredible things, trading fours with the drummer for more than half one our, never boring nor repetitive, doesn't need that at all, him specially!
I’m a bit confused… 😅 So, in the first part of the lesson (before mentioning shells), Mr. Martin is saying I should think about each melody note’s place in the diatonic scale? As in, whether it is a chord tone or resolves to one, or maybe some line clichés/enclosures involving the note? If someone who “got” the lesson could give a summarised version of his points, I would be so grateful because this doesn’t really sound “beginner” to me 😭
The first 5 chords are all modes of the A Flat Major scale. The notes of each chord's scale are the same as A Flat Major, just starting on different points in the scale. F Minor is the 6th step, B Flat Minor the 2nd, E Flat 7th is the 5th, A Flat is the 1 or 1st step, D flat Major the 4th. By knowing they're all from the A Flat Major scale, you don't have to think of a different scale on every chord.
Practice well received.. Wednesday's I like to call " Wacky 🙃Wednesday" Dr.Seuss...This practice or all🎶💁♀️practices > ~ Practice on today, Friday And hey back to TUESDAY 👨🎤💫 2much..? You'll have that some days...all day THANKFUL🫶SANE ..oops..i meant all 🙏 the SAME
It's a downfall of (jazz) teaching to endlessly harp on the same very simple rudiment, and then leap to showing off an incomprehensibly advanced flurry. What is needed is the steps between the two. I have good aural and theory skills but I don't understand how to come out with improvisation lines like 9:20 or 18:22.
You are aware that 9:20 is the „very simple rudiment“ he is preaching? Maybe you should double down on discovering the basic major scale (I know I should!)
This should not be free :-) I'm vomiting exercising ATTYA but I know the day will come when finally enlightment comes (and I will stop thing about therory while playing) :-)
Ayoh! Let me see quake in your boots. Get back to the old skool. Back to the roots. Ayoh! Let me see quake in your boots. Get back to the old skool. Back to the roots. Ayoh! Let me see quake in your boots. Get back to the old skool. Back to the roots
Peters an ok piano player but Im really here for the singing
What a fabulous lesson .. breaking the song down to its harmonic ‘ skeleton’ really helps open up some new possibilities ( and makes transposing much easier because you know where you’re headed) Thanks so much, Peter !! ❤🎹
Over the years, I've learned enough about different chord qualities to 'fake it till I make it'. I can make a standard like All The Things You Are sound reasonably pretty. But, there's always been part of me that really has wanted to figure out how to really ' play '. I think that this helps
Same here! I can play wallpaper for a wedding reception just fine, but I'm pushing 60 and still reaching for that next level of, like you say, really playing. Peter has this amazing combination of effortless spontaneity and deep thought that makes him a great teacher. I'm only ten minutes in to this video, but it feels like he's showing us a path I can't wait to follow.
better put this on repeat :)
Peace!
All the things are captured in those chords that wrap tears, fears, love and joy into a fog of subtle feeling.
Hey Pete, your enthusiasm is infectious❤ . Great lesson man.
-Tony🇦🇺🦘
I could listen to you playing All The Things You Are all day❤
Seeing your hands playing this tune made me realize this melody stays a third from the bass pretty much the whole song. The melody IS the shell!
Love from India! I'm a guitar player, and have learned more from yall than I have from all my teachers combined!
What's your name brothaa?
@@pianowithravikhugshal5351 Ujan
Just came from a summer jazz workshop and we did All the things you are extensively - here is a funny reharm. 1st chord hold the bass (F) and melody (Ab) and realize the inner voices (C, G, Ab, Bb, Eb for example). Now slide the inner voices up a half-tone, leave the bass and melody the same. Tell me what you think. :)
I love this guy
Always inspiring when listening to you, Peter!
Congrats,Peter.I loooove Open Studio !!!!!!!
I wasn’t able to get much out of this. You played the tour with the melody, then just did some crazy stuff without explaining.
Really good info. I'm glad you let us know what you practice. Thanks
❤❤Thanks Pete.❤❤ im self.taught. Love your enthusiasm
Good day Peter!!!!! Hello from Alberta, Canada!!!!
Great lesson PM
Brilliant lesson, loved it. Listening to how crisp every note Peter plays and the emphasis and accent on specific tones blows me away. Something lacking in my own finger work I’m trying to rectify. Finding new lines and how to approach those reference points.
Thank you Sir!
Beautiful!
Good lesson!
like both of your new classes and glasses!
Hey Peter...thank you. St. Louis
Awesome lesson as always! If you're actually gonna take your wife to Switzerland let me know if you need a tourguide.
Thanks for all the valuable content you guys keep putting out!
Great class as always, thank you so much!
I am very sceptic too about that said that Sonny Rollins sometimes wrote his solos beforehand. Maybe some kind of exercise as Peter well said or arrangement to play that day or something... or plain misinformation, we would need incontrovertible proof, two records with the same "improvised" solo.
A guy capable of, among many other incredible things, trading fours with the drummer for more than half one our, never boring nor repetitive, doesn't need that at all, him specially!
You good at what you do
Thank you. This is helpful.
Oakdene, Johannesburg representing!
Seattle, Washington! Greetings!
Aweeeeesome!! Love it !
Hi Peter, I’m a member from Los Angeles, CA … USA!
Fantastic ! Instant growth ! I’d love to know on which chords you use those beautiful Mac Coy penta voicing.
all the things you share,thx!❤
You inspire me
Heyoo, thats some good jazz❤
Hello Peter, I learn music and English during your lesson, thank a lot.
From Bulgaria 🇧🇬and Italy 🇮🇹
Ezra Lingeveldt in the house all the way from Cape Town South Africa
Big Island Hawaii
In the house!
Wait Pete you're in STL!?!? This whole time your in the same city as me, wow!! #legend
If you are really interested to come to India, I would love to arranging things for you brothaa. Love your playing
Solid gold, Peter, (as usual!)❤ Love your walking bass comping. Does OS feature that aspect? I havent found a lot in that area.
Steph Curry always starts his shootout very close to the rim to calibrate
This is a perfect time to explain the The circle of fifths
Ernest from Ghana
Hampton VA
Santa Cruz , CA is here! Home of the Kuumbwa Jazz Center
Good guitar lesson for me!
Completely new to Jazz and want to know were to start!? How do you keep your ring finger straight or independent!?
A late joiner from Crete Greece
Yeah that's a great song. I know a lot of people say I learn and play jazz off of all the things you are
Thats a good idea *
Mart'n is the Best
Thanks : )
Lesson starts around 6:47
From Bangkok
I’m a bit confused… 😅 So, in the first part of the lesson (before mentioning shells), Mr. Martin is saying I should think about each melody note’s place in the diatonic scale? As in, whether it is a chord tone or resolves to one, or maybe some line clichés/enclosures involving the note? If someone who “got” the lesson could give a summarised version of his points, I would be so grateful because this doesn’t really sound “beginner” to me 😭
The first 5 chords are all modes of the A Flat Major scale. The notes of each chord's scale are the same as A Flat Major, just starting on different points in the scale. F Minor is the 6th step, B Flat Minor the 2nd, E Flat 7th is the 5th, A Flat is the 1 or 1st step, D flat Major the 4th. By knowing they're all from the A Flat Major scale, you don't have to think of a different scale on every chord.
Mississauga, Ontario, Canada
Awesome..
Peter, at 2:34, you mention a transcription. What transcription is that line from?
Oakland represents
13:06
Zelda hehe 😅
🔥🔥🔥
nice
Peter rippin at 37:20……
My aunties name is Nana and I'm playing it loud on Tv
The. Simpler the better
Arecibo PR
Practice well received.. Wednesday's I like to call " Wacky 🙃Wednesday" Dr.Seuss...This practice or all🎶💁♀️practices > ~ Practice on today, Friday And hey back to TUESDAY 👨🎤💫 2much..? You'll have that some days...all day THANKFUL🫶SANE ..oops..i meant all 🙏 the SAME
Whitehorse, Yukon Territory, Canada
Guam
👏👏👏🙏🏻🙏🏻🙏🏻
It seem like jazz brings everyone together. Peacefully at that.
When you play so beautifully it’s like … All the things I’m not
HAHA good one dude
😂😂😂
revealing the kinks
It's a downfall of (jazz) teaching to endlessly harp on the same very simple rudiment, and then leap to showing off an incomprehensibly advanced flurry. What is needed is the steps between the two. I have good aural and theory skills but I don't understand how to come out with improvisation lines like 9:20 or 18:22.
You are aware that 9:20 is the „very simple rudiment“ he is preaching? Maybe you should double down on discovering the basic major scale (I know I should!)
theres also something to be said for, simply transcribing the line that you like! (take it through all 12 keys & you're good to go😉)
This should not be free :-) I'm vomiting exercising ATTYA but I know the day will come when finally enlightment comes (and I will stop thing about therory while playing) :-)
Ayoh! Let me see quake in your boots. Get back to the old skool. Back to the roots. Ayoh! Let me see quake in your boots. Get back to the old skool. Back to the roots. Ayoh! Let me see quake in your boots. Get back to the old skool. Back to the roots
This is after editing?
Ayoh
The Ab is not the tonic. It's the minor third of Fm.
Ab sure is the tonic of the relativ major 😉
Actually I think the songs in Ab just starts on Fm
But how does that relate to the chord progression?
@@bill3837 well, the first four chords are a bog standard vi ii V I (Ab being the tonic)
I don't believe it either he's got a copy of the jazz book of the GODS!