I am half way through your Jazz Fundamentals book 1. A year ago this video would have been way over my head, now I totally can do the exercises in unit 6. I could have never accomplished this or understood jazz without your awesome instruction book, your recommended songs to analyze and instructional videos. I can’t WAIT to get to the next units and your next books. Every time I finish a unit I’m sooo happy because I’ve learned so much. Thank you so much for your hard work. You are a great teacher!
Wow! This comment made my night. Thank you! Don’t hesitate to let me know if there’s a subject you’d like me to go into more depth on through a video on TH-cam. Best of luck with your journey. Keep me updated!
That was a great comprehensive breakdown of voice leading, and it opened up understandings for other theory and the purpose for them. Especially shined a light when you showed the difference and purpose in alternating the voices as opposed to not alternating.
thanks for the lesson! Halfway through I just sat down to pracc using type A chords for a bit and thought I'd share some insight: if you got the hand grips down, all you need to do is to find/aim for the current chord's root to put your hands right AROUND it (left hand goes 1 below the root, right hand 1 above). Super easy, at least while being in C.
Great class. It was very interesting the way you structured the shell chords into 3-7 ... 5-9 ... A and B. The suggestion on moving forward to next (ii-IV-I) key will be very helpful when practicing them . . . Thank you so much!
Jeremy this lesson is the perfect starting point for beginners like me, that love the concepts of your book but have many holes in the jazz ground. Now I wonder what is the second voicings lesson: some more formulas or how to apply the first formula to a song? By the way the sound of the video is now much better!
@@JeremySiskind Thanks! Recently i have been working on duo (voice-piano), but i feel my piano participation a little bit empty rythmically and harmonicaly. Perhaps the topic of accompany a singer. Thank u a lot!!! Best regards from México! 😁🙏
Great teacher and excellent sense of humour! Enlightening and enjoyable! -May we use 3rd/2nd finger for the low note of the left hand as standard fingering? (This gives the possibility of occasionally playing the bass too). -Are your books available in hardcopy in Europe? Cheers from Athens, Greece.
Hi Alexandros - first, the easy question - for hard copy versions of my books in Europe, you can order from Amazon.com. Now, regarding fingering, these are not voicings you would use while playing a bass note so I would recommend mostly using 4/5 for the bottom note. You might be interested in my video on “She’ll Voicings,” which do include the bass note.
Ah, very interesting question. I think I will make it the subject of a future video. But here's the short answer - chord symbols are meant to give information, not instructions. So generally if a chord lists an extension like a 9th or 13th it is indicating that somebody *else* is playing that note, not that you need to. We are always welcome to add upper extensions to our chords.
Hi Jeremy, when you work out these 4 note 2 5 1 voicings in minor, do you recommend b3 and b7 in the left hand of the minor7 b5 chords or root and b5 Also, would C3 and C4 still be the outer limits? I’m enjoying your solo piano book. Thank you.
Oof big questions. I’m writing this into my next book now. I generally still recommend 3 and 7 in the left hand but the color tones become more negotiable. Yes, the outer limits (for the lowest note!) would remain the same.
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
I am half way through your Jazz Fundamentals book 1. A year ago this video would have been way over my head, now I totally can do the exercises in unit 6. I could have never accomplished this or understood jazz without your awesome instruction book, your recommended songs to analyze and instructional videos. I can’t WAIT to get to the next units and your next books. Every time I finish a unit I’m sooo happy because I’ve learned so much. Thank you so much for your hard work. You are a great teacher!
Wow! This comment made my night. Thank you! Don’t hesitate to let me know if there’s a subject you’d like me to go into more depth on through a video on TH-cam. Best of luck with your journey. Keep me updated!
@@JeremySiskind Thank you so much!
Best piano channel I've found on TH-cam. Always learning something new and useful.
I’m honored! I’m so glad that you like it!
This video needs a lot more views, you're so clear and to the point, everything's so easy to understand.
Thank you, Miles!!! Let’s get those views 😂
Very useful remark at 15':05 "either the inner or the outer voices move together"
That was a great comprehensive breakdown of voice leading, and it opened up understandings for other theory and the purpose for them. Especially shined a light when you showed the difference and purpose in alternating the voices as opposed to not alternating.
Fantastic! I'm so glad it was helpful!
Your explanations are so clear Jeremy. I hope you're going to also cover shell voicing for minor 2 5 1.
I'll add it to the list. Thanks, Steve!
Super helpful video! Thanks
You continually surprise me Jeremy. Your teaching methods are so clear and logical, but above all they're complete. Very impressive.
Aw, thank you!!!
@@JeremySiskind btw: really enjoying your book! UPDATE - ha, just realised I already said something similar in the second instalment of this lesson!
@@chriswright2553 I knew you were my favorite lol.
@@JeremySiskind haha 😂
thanks for the lesson! Halfway through I just sat down to pracc using type A chords for a bit and thought I'd share some insight: if you got the hand grips down, all you need to do is to find/aim for the current chord's root to put your hands right AROUND it (left hand goes 1 below the root, right hand 1 above). Super easy, at least while being in C.
Ah, cool! You're talking about the top note here, right? That's a nice way to think about it!
Fabulous lesson. You are a wonderful teacher and make these jazz voicings so available to pianists who are traditionally trained. Thank you!
Thank you, Marilyn! It means a lot coming from a master-teacher like you!
Besides being an excellent lesson, I loved (@15:44) "Erasing is fun, erasing is fun!" 😀
Lol, you’ve got to do something to fill the time!
Great class. It was very interesting the way you structured the shell chords into 3-7 ... 5-9 ... A and B. The suggestion on
moving forward to next (ii-IV-I) key will be very helpful when practicing them . . . Thank you so much!
Perfect. I'm glad that helped!
You are doing a faboulus work for musian from allover the World. Good person JS
That's so kind! Thank you so much!
Thanks again, explained very clear and thorough.
Thanks so much, Theo!
Very useful, should have waaaayy more views! Thank you!
Thanks! We'll get there some day and your comment helps. Thanks much!
Jeremy this lesson is the perfect starting point for beginners like me, that love the concepts of your book but have many holes in the jazz ground. Now I wonder what is the second voicings lesson: some more formulas or how to apply the first formula to a song?
By the way the sound of the video is now much better!
I hope the second lesson answered some of your questions!
Great video!
I love your videos! I have been growing a lot since looking your material, thanks a lot!
That's beautiful to hear, Javier! Let me know if there's ever a subject you want covered. I'll do my best to help.
@@JeremySiskind Thanks! Recently i have been working on duo (voice-piano), but i feel my piano participation a little bit empty rythmically and harmonicaly. Perhaps the topic of accompany a singer.
Thank u a lot!!! Best regards from México! 😁🙏
@@javiercuevasandrade4240 ah! That’s been on my list. Thanks for the reminder!
thank you for this lesson, really helpful!!
Awesome, Radu! I’m glad it was useful!
Great teacher and excellent sense of humour! Enlightening and enjoyable!
-May we use 3rd/2nd finger for the low note of the left hand as standard fingering?
(This gives the possibility of occasionally playing the bass too).
-Are your books available in hardcopy in Europe?
Cheers from Athens, Greece.
Hi Alexandros - first, the easy question - for hard copy versions of my books in Europe, you can order from Amazon.com. Now, regarding fingering, these are not voicings you would use while playing a bass note so I would recommend mostly using 4/5 for the bottom note. You might be interested in my video on “She’ll Voicings,” which do include the bass note.
Super helpful content. Thank you very much ❤
Yay! Thanks!
I am buying this book
Amazing sir
I'm glad you liked it, Kelvin!
Hello , Jeremy, I wonder why if we play the ninth tone we still write the chord down as a seventh chord? I mean why we don’t write c-e-g-b-d as C9?
Ah, very interesting question. I think I will make it the subject of a future video. But here's the short answer - chord symbols are meant to give information, not instructions. So generally if a chord lists an extension like a 9th or 13th it is indicating that somebody *else* is playing that note, not that you need to. We are always welcome to add upper extensions to our chords.
@@JeremySiskind thank you for answering! This is so precious being able to have feedback from you! Waiting for new awesome videos❤️
GREAT!!!
Hi Jeremy, when you work out
these 4 note 2 5 1 voicings in minor, do you recommend b3 and b7 in the left hand of the minor7 b5 chords or root and b5 Also, would C3 and C4 still be the outer limits?
I’m enjoying your solo piano book. Thank you.
Oof big questions. I’m writing this into my next book now. I generally still recommend 3 and 7 in the left hand but the color tones become more negotiable. Yes, the outer limits (for the lowest note!) would remain the same.
Thanx, Maestro 🌹🌹🌹
251% Jazz concentrate!
Haha, I love it, Andreas! Thank for watching!
Hi! What Apps are u using to Write the notation?
I use Forscore and upload my own manuscripts.