Congratulations Olly and thank you very much for sharing such a clear and profound teaching not only of the song So What but also teaching elements of jazz and general principles of the piano, without limiting this delivery to the economic aspect, a practice so common today in TH-cam tutorials.
This was great, the best tutorial on So What I've found on TH-cam. If you're ever interested in doing one on In a Sentimental Mood or Wine and Roses I'd love to see those too. 😁
Such wise advice here! I feel this is a very important video. I love the way you rest your hand on your knee after each phrase. This allows space for the music to breathe naturally. And space too for the listeners, including the player, to feel what has been sounded. I think limiting the range of notes is great advice. Maybe even starting with only one note and being free to learn how to make interesting phrases with only that one note , and space of course. This might then form the foundation for all future improvisation. Many thanks Olly.
This is great, Olly. So many cool topics covered. Even beyond the valuable ideas for So What, general ideas for improvising, leaving space, left hand ideas. Thanks for putting this one together, it's a gem.
When you demonstrate walking bass line you should definitely show transition between D walk and Eb walk!!!! Where it happens in the form of the tune. I’ve always found so what difficult to follow because of how static it is and the AABA form.
Olly Stevenson Rootless chords! Got it thanks. Does a rootless chord still evoke the same emotion? So theoretically any notes that sound good with G major would sound good with the Em7?
@@garynicolson9341 Yes in general you can use the same notes, although it depends on the context. An interesting experiement you can try.. play the triad with an E in the left hand a few times, then play the triad on its own.. you'll hear it as a minor 7 chord.. do the same but with G in the left hand, and you'll then hear it as a major triad :)
Despite the awkward camera angle, this is an wonderful tutorial...and your Blue in Green tutorial truly catapulted my playing forward. THANK YOU Olly!
Congratulations Olly and thank you very much for sharing such a clear and profound teaching not only of the song So What but also teaching elements of jazz and general principles of the piano, without limiting this delivery to the economic aspect, a practice so common today in TH-cam tutorials.
Thank you so much. I know many have taught on this tune but you are the best I have seen so far. Thank you.
This was great, the best tutorial on So What I've found on TH-cam.
If you're ever interested in doing one on In a Sentimental Mood or Wine and Roses I'd love to see those too. 😁
Hey, thank you for the comment and I'm really glad you found it useful! I shall make a note of the tunes you requested for the future :)
Great musical advice Olly. Many thanks
Thank you!
Such wise advice here! I feel this is a very important video. I love the way you rest your hand on your knee after each phrase.
This allows space for the music to breathe naturally.
And space too for the listeners, including the player, to feel what has been sounded.
I think limiting the range of notes is great advice. Maybe even starting with only one note and being free to learn how to make interesting phrases with only that one note , and space of course.
This might then form the foundation for all future improvisation.
Many thanks Olly.
Thank you for the nice comment! :)
This is great, Olly. So many cool topics covered. Even beyond the valuable ideas for So What, general ideas for improvising, leaving space, left hand ideas. Thanks for putting this one together, it's a gem.
The guy is super natural
Excelente ,muchas Gracias ,un saludo desde Argentina !!!.
Very good , well done,
Hey, that's great. Thank you
really cool and really nice tips thx Olly
Thank you Alessandro!
Really fab tutorial. Opened it up so well! I'll keep coming back to this. Thank you...
Thanks Nick, glad it was helpful
When you demonstrate walking bass line you should definitely show transition between D walk and Eb walk!!!! Where it happens in the form of the tune. I’ve always found so what difficult to follow because of how static it is and the AABA form.
Thank you so much... I love your ideas. I have a lot of fun with them..... millón kisses for you..
Your improvisations are awesome, I’m gonna transcribe some of it
Thanks Jack, all the best with your transcribing!
Love your videos keep them up. More Real Book how tos.
Great one man! Playing so what on a gig next saturday and this gave the extra bit I needed!!
Thanks - I hope the gig went well!
marvelous
Lovely
It’s a nice video thx
In your left hand bass keys, do you have a different synthesized voice? Like piano voice in the upper and a different voice on the lower?
At 15:53 you said "three note Em7" Did you not mean a G inverted triad?
Hi Gary, well yes it's both really.. a G major triad is a rootless Em7
Olly Stevenson Rootless chords! Got it thanks. Does a rootless chord still evoke the same emotion? So theoretically any notes that sound good with G major would sound good with the Em7?
@@garynicolson9341 Yes in general you can use the same notes, although it depends on the context. An interesting experiement you can try.. play the triad with an E in the left hand a few times, then play the triad on its own.. you'll hear it as a minor 7 chord.. do the same but with G in the left hand, and you'll then hear it as a major triad :)
Olly Stevenson thanks!