I had this same thought! I honestly prefer the Lydian dominant, but the mixolydian has the weird clash of the E with the F7 chord, which can be an acquired taste.
There are a lot of good hints for improvisation over dominant chord sequences in jazz, but for me the blues is not just another chord sequence that you should know as a jazz and blues pianist, it is also a specific sound mainly created by the use of blue notes. Sometimes I hear in this video more an improvisation on a12 bar blues chord progression but without that special bluessound with its blue notes. So it is importent for me to use this interesting patterns occasianally but in not leaving the blues sound with its blue notes out of sight.
Hey Noah.This beginner just had to 'slip in' to look over your shoulder. And I'm glad that I did. It's just that I've listened to so much McCoy and Herbie since the Golden age of fusion ( I'm now dating myself ), that I already hear so many of those chords that you are playing in my head. 0:01:43 And I did even have a little success playing the mixolydian just the way you did ( a tritone above the tonic ). Releasing the tension is where I've run into a little bit of a speed bump. I really got into @0:04:12 when you started demonstrating the application of the sus chords. In particular the sus 13. I'm very sure that I've heard somebody like McCoy or Chick use it in the blues. In totality, the video has rekindled my interest in the blues. Thank you again! I'm now at four out of seven with that list of my personal favorites 🙂😊😎 🎹🎧
Thanks Noah, exactly where my technique leaves off. My players aren’t jazz musicians, but they’re hip enough to leave room for this. THANK YOU FOR TEACHING!
Hi Noah: I loved this video. Please see my comment above Quick question: I like very much the mixolydian scale over major chords, as you do And I find particularly compelling a pentatonic consisting of the following scale degrees from the mixolydian: One, major 3, four, five, and flat seven But curious what you call this? It doesn’t seem to be either clearly a major pentatonic or minor pentatonic?
This is just fabulous! Thank you, Noah! I'm an "inside the box" traditional improviser, and this is kicking open some new doors for me! The first examples sound a little like Monk. Do you think Monk knew "what he was doing?" Or do you think he just accidentally stumbled upon Mixolydian sounds as he reached for dissonance?
Hey Flint, great question. I'm not really sure honestly, but my guess would be he at least knew what he was doing in the sense that he used the sounds he came across with purpose, strategically, regardless of whether or not he was aware of their theoretical names.
Same here, Flint. Going outside the changes is soooo hard, but also so necessary. After some time rehearsing or playing I get so tired of my old diatonic stuff. Noah does a great job here! Monk often played on rhythm changes’ first four bars (all major triads add 9: ) B-E-A-D-G-C-F-Bb. Sheer genius, but so hard to play. Monk knew harmony, I truly believe that. Bemsha Swing, a lesson in reharmonizing and tritone substitution. I dig his music, but don’t understand it and even when I do, I can’t play a good solo. Same with Wayne Shorter’s music. My brain can’t process the genius of these musicians. It’s like trying to understand Einstein….
Hi Noah. Really great. When you improvise over F7, F sharpm Bb7, B7... are you thinking of any specific scale such as those you mentioned in the beggining of the video? mixolidian? thanks
Great video Noah! =D I really enjoy your videos and I'm trying to absorb as much as I can =D I hope your computer is better now, see you next week then =D
Hi Noah, great video. Thanks so much. When you're playing over the Sus13 chords, are you still aiming to play outside on the Mixolydian? Or is it more diatonic? Thanks!
Hey Noah,I really wanna know the vital keys/notes to improvise to (jazz improvisation)???.. I find it hard and confusing on any of 11key I could improv to.. Thanks😊
Or, for the sus sound that's your second trick, rather than think about altering a rootless chord just play a straight-up rooted major 7 (1-3-5-7) off the chord that ordinarily makes the sus sound, which is a whole step below the root-IOW play a straight Eb maj 7 over F, an Ab maj 7 off Bb, and a Bb maj 7 chord off C. Seems more logical. Great sound though, thanks.
Sorry I had to leave a second comment if I took each of these ideas and applied them to 12 keys then continued to rhythm changes I think my playing will be transformed
Hey Noah, at 5:00 for the G- you say "we can replace this with a F-9' but you actually - and quite correctly - play a D-9... Slip of the tongue I know, but it could be confusing... Great vid, otherwise, cheers!
He is trying to lure you into getting the Black Friday deal. He is not just going to spit all the beans here. This is perfectly ok. He needs to eat, otherwise he would faint on camera. I am sure his explanation in the course are amazing. Very well worth it.
![Sick Tricks for Sounding Modern on Rhythm Changes [Jazz Piano Tutorial]](http://i.ytimg.com/vi/RKD4zCyIT6Y/mqdefault.jpg)
![Sick Tricks for Sounding Modern on Rhythm Changes [Jazz Piano Tutorial]](/img/tr.png)
![How to Play Out Over ii-V-Is [Jazz Piano Tutorial]](/img/n.gif)
I finally understand what Sonny Rollins is doing on Blue 7!
Very helpful lesson, Noah ! Thank you so much !
Hi Noah! Just curious why you used B mixolydian over F instead of B lydian dominant over F?
I had this same thought! I honestly prefer the Lydian dominant, but the mixolydian has the weird clash of the E with the F7 chord, which can be an acquired taste.
There are a lot of good hints for improvisation over dominant chord sequences in jazz, but for me the blues is not just another chord sequence that you should know as a jazz and blues pianist, it is also a specific sound mainly created by the use of blue notes. Sometimes I hear in this video more an improvisation on a12 bar blues chord progression but without that special bluessound with its blue notes. So it is importent for me to use this interesting patterns occasianally but in not leaving the blues sound with its blue notes out of sight.
Excellent video
These tips are so fantastic and ear expanding! Thank you so much.
Thanks, Mark! I appreciate that.
Hey Noah.This beginner just had to 'slip in' to look over your shoulder. And I'm glad that I did. It's just that I've listened to so much McCoy and Herbie since the Golden age of fusion ( I'm now dating myself ), that I already hear so many of those chords that you are playing in my head. 0:01:43 And I did even have a little success playing the mixolydian just the way you did ( a tritone above the tonic ). Releasing the tension is where I've run into a little bit of a speed bump. I really got into @0:04:12 when you started demonstrating the application of the sus chords. In particular the sus 13. I'm very sure that I've heard somebody like McCoy or Chick use it in the blues. In totality, the video has rekindled my interest in the blues. Thank you again! I'm now at four out of seven with that list of my personal favorites 🙂😊😎 🎹🎧
yes!
Excellent lesson as always!
Some amazing tips
I only have a small amount of tunes in my arsenal this will allow me to play a blues a few times and sound dfferwnt each time
Great!!!! Thanks a lot!!!! 🤠🎹🤠🎹
Love your stuff
Thank you, Mark! Much appreciated.
Awesome 🌟
Great shapes & concepts. Great video !
Brutal!🙏🏽💥🔥
Is there a PDF to purchase on your website for this lesson ?
More great content! So glad I’m subscribed!
Freakin' love you! Your lessons are invaluable. Anyone who is a real player can finally get some more!!! Keep up the GREAT WORK!
Thanks very much, Elliot! Glad you’re digging the lessons
'"Play-AH"', HERE 🙋...😏
Thanks Noah, exactly where my technique leaves off. My players aren’t jazz musicians, but they’re hip enough to leave room for this. THANK YOU FOR TEACHING!
You’re welcome Peter thank you for the comment!
AWESOME STUFF !
Thanks, Shaphat!
Man, I have no skills to execute this uet (newbie) but your explanation is clear and examples are spot on. Thank you for this awesome content! Kudos
Hey you’re very welcome thanks for the comment!
Thank you, greetings from Argentina!
Do you have a transcription of your lesson for sale?
Another fantastic lesson! You touched on a subject I’d like to explore in more depth:
Playing outside in a convincing way
Thanks for all your help!
Hey, you're welcome David!
That's definitely something I'll cover more down the road.
Thanks a lot your videos are brilliantly informative and inspiring, wish more ppl taught like you.
The sus substitutions are beautiful!!
Thanks! Glad you like em. Been using them for a while and they're a lot of fun
Hi Noah:
I loved this video. Please see my comment above
Quick question: I like very much the mixolydian scale over major chords, as you do
And I find particularly compelling a pentatonic consisting of the following scale degrees from the mixolydian:
One, major 3, four, five, and flat seven
But curious what you call this? It doesn’t seem to be either clearly a major pentatonic or minor pentatonic?
Fun .. great info !!
This is just fabulous! Thank you, Noah! I'm an "inside the box" traditional improviser, and this is kicking open some new doors for me! The first examples sound a little like Monk. Do you think Monk knew "what he was doing?" Or do you think he just accidentally stumbled upon Mixolydian sounds as he reached for dissonance?
Hey Flint, great question. I'm not really sure honestly, but my guess would be he at least knew what he was doing in the sense that he used the sounds he came across with purpose, strategically, regardless of whether or not he was aware of their theoretical names.
Same here, Flint. Going outside the changes is soooo hard, but also so necessary. After some time rehearsing or playing I get so tired of my old diatonic stuff. Noah does a great job here!
Monk often played on rhythm changes’ first four bars (all major triads add 9: ) B-E-A-D-G-C-F-Bb. Sheer genius, but so hard to play. Monk knew harmony, I truly believe that. Bemsha Swing, a lesson in reharmonizing and tritone substitution. I dig his music, but don’t understand it and even when I do, I can’t play a good solo.
Same with Wayne Shorter’s music. My brain can’t process the genius of these musicians. It’s like trying to understand Einstein….
REALLY LOVE YOUR VIDEOS MAN ! GREAT STUFF ! ESPECIALLY THE LIVE PLAYING VIDS LIKE W/CHAD LB AND OTHERS ! YOU PLAY SO NICE MAN ! THANKS ALL !
Thanks, Steve! Much appreciated
Deus abençoe 🇧🇷🇧🇷🇧🇷
The Suss voicings sound killer.
Is there an app out there that provides you chord progressions and which scales to play along with?
Love the program NK!
Wow sounds amazing, man!!!!
Thank you. It’s the sound I really wanted
Great stuff, thanks!
Hey, you're welcome!
👍👍👍 ! So great
Fantastic content Noah. Love the emphasis on creating a modern jazz piano sound.
Thanks, Paul, glad you enjoyed it!
Hi Noah. Really great. When you improvise over F7, F sharpm Bb7, B7... are you thinking of any specific scale such as those you mentioned in the beggining of the video? mixolidian? thanks
Hey Christianne, yep, I'm thinking in Mixolydian. And thanks :)
Great video Noah! =D I really enjoy your videos and I'm trying to absorb as much as I can =D I hope your computer is better now, see you next week then =D
Thanks, Leo! Yes, you'll see me next week for sure!
Great as ever!
Hi Noah, great video. Thanks so much.
When you're playing over the Sus13 chords, are you still aiming to play outside on the Mixolydian? Or is it more diatonic?
Thanks!
Hey Tim, it's really just personal preference, but I enjoy sticking to the sus sound and just going with mixolydian for the most part!
Hey Noah,I really wanna know the vital keys/notes to improvise to (jazz improvisation)???.. I find it hard and confusing on any of 11key I could improv to.. Thanks😊
Hey Walter-- check out this video. I think it will help explain things: th-cam.com/video/Z_J3iZXJr2Q/w-d-xo.html
Cool
Sounds like Thelonious to my ears
4:49
Teacher: This is usually not stuff for beginners
Me: Show me. I have chosen death before ignorance.
Hahah yeah this definitely isn’t beginner level. Keep up the good work!
Or, for the sus sound that's your second trick, rather than think about altering a rootless chord just play a straight-up rooted major 7 (1-3-5-7) off the chord that ordinarily makes the sus sound, which is a whole step below the root-IOW play a straight Eb maj 7 over F, an Ab maj 7 off Bb, and a Bb maj 7 chord off C. Seems more logical.
Great sound though, thanks.
True, that's another easy way to think about it!
Sorry I had to leave a second comment if I took each of these ideas and applied them to 12 keys then continued to rhythm changes
I think my playing will be transformed
Hey Noah, at 5:00 for the G- you say "we can replace this with a F-9' but you actually - and quite correctly - play a D-9... Slip of the tongue I know, but it could be confusing... Great vid, otherwise, cheers!
Ah, thanks for the heads up, Jp!
Presentations are still WAY too rushed. Even for us experienced piano players.
He is trying to lure you into getting the Black Friday deal. He is not just going to spit all the beans here.
This is perfectly ok. He needs to eat, otherwise he would faint on camera.
I am sure his explanation in the course are amazing. Very well worth it.
Are you suggesting that someone who knows the term mixolydian and is able to improvise a Blues in B doesn't know what a tritone is? That is funny.
This was so cool!