Your explanation of the modes is wonderful. Showing on the keyboard how each chord is accompanied by what mode is a blessing to us all. Slowly applying these modes to each chord is an exercise of importance worthy of further exploration for all students of the Tony Winston School of Jazz.
Way out of my depth at the level of improv soloing learning I am but I’m going to rote learn this just so I can study the application of the lydian mode. Why not!
Always a pleasure to watch and hear from you. I love your teaching style and the stories you often tell, makes all the difference in my opinion. QUESTION: I would like to make lead-sheets of my own. Is there any particular program that you recommend for this, many are way too complicated. Thanks Tony!
I use a very outdated program called Encore. Musescore is popular, Sibelius and Finale are widely used. One of these days I will have to move to a new program.
Instantly thought of Am6/9 with the first chord. The B in the RH felt like it was the second wanting to resolve to the root Its interesting how people percieve chords. Some would think D13 or Cmaj7b5, or even this F#m7 b5 11 that was written Weird huh
@@TonyWinstonyeah I haven't heard the piece. I'm just saying that hearing that LH chord with no context I instantly felt like it was Am6/9 and that when the B in the RH was playing it felt like the second The point was just that to someone else hearing it out of context they might perceive one of the others
Your explanation of the modes is wonderful. Showing on the keyboard how each chord is accompanied by what mode is a blessing to us all. Slowly applying these modes to each chord is an exercise of importance worthy of further exploration for all students of the Tony Winston School of Jazz.
Glad it was helpful!
Always opening my eyes to new dimensions.
Thank you Tony.
This is exactly the type of content i was looking for. Thank you! 🔥
Way out of my depth at the level of improv soloing learning I am but I’m going to rote learn this just so I can study the application of the lydian mode. Why not!
Cool to hear it on piano. My favorite tenor player
Thank you so, so much
i swear if you were my teacher in real life i would just be so blessed i want to meet you so badly
Thanks for the analysis
Thanks! :)
Always a pleasure to watch and hear from you. I love your teaching style and the stories you often tell, makes all the difference in my opinion.
QUESTION: I would like to make lead-sheets of my own. Is there any particular program that you recommend for this, many are way too complicated.
Thanks Tony!
I use a very outdated program called Encore. Musescore is popular, Sibelius and Finale are widely used. One of these days I will have to move to a new program.
I love the pace of this 👍. I'm Grade 3 on a good day but I can follow the explanation and copy the noodling and actually learn something!
That's great Mick!
thanks
Instantly thought of Am6/9 with the first chord. The B in the RH felt like it was the second wanting to resolve to the root
Its interesting how people percieve chords. Some would think D13 or Cmaj7b5, or even this F#m7 b5 11 that was written
Weird huh
All of those chords are correct and more or less identical but we defer to the bass player. F#
@@TonyWinstonyeah I haven't heard the piece. I'm just saying that hearing that LH chord with no context I instantly felt like it was Am6/9 and that when the B in the RH was playing it felt like the second
The point was just that to someone else hearing it out of context they might perceive one of the others
😂😂😂 too hard for me to understand
No worries, this song is very odd.