It’s hilarious that Peter cannot endure one podcast without trying to make jokes ; seems like a lot of fun wish i could come through the studio and share over the keys . Love this podcast, much love to the both of you
As good as these guys as both musicians and teachers I was surprised at one key detail missed. in addition to the challenge of frequent tonic and repeated chords, one of the key practices - at least as far as bebop is concerned- is the harmony distinction of measures 5-8. Specifically that Bb is Bb7 moving to either Eb7 Eo or Eb6 Ebm. I think often players avoid this specific bebop detail. The specific challenge with 5 to 8 have to do with detailing these measures and choosing which path (the dominant to dominant or dominant to Minor. Also not so much harmonic as a phrase content issue - wrapping up 16 bars so if feels complete. The same could be said for the chorus. How you wrap up your phrases so it sounds final rather than just being at bar 16 or 32. it's a question of cadence just my 2 cents
Good stuff but honestly I was expecting more on the next level of playing over these changes.for example,how to not sound like you’re just connecting chord tones all the the time.i can do it (although in high tempos it’s challenging) but I would like to feel more creative and original on this.one thing that I like and you didn’t talk about is playing a C#dim7 instead of the F7 cause a lot of the greats play it that way way I think.also playing the scales over each chord and not only the chord tones.
Agree. Had just watched Rick Beatto on rhythm changes and hoped for more. Yes, I liked the C#°7 (and you can think of that as an A7b9, a type of 'backdoor' dominant) - interesting for the harmonically obsessed! 😄
G B F Bb low to high is a G7#9 chord, if you take away the B you have a Gm7 chord, G7 is more common, but the Bb maj triad which describes a Gm7 chord also describes a G7#9 chord.
Important rule : Peter MUST have at the very least, a keyboard in front of him at all times.... I can tell he really wanted to show us what hes saying...
The real problem is that musicians don't play it with "the listener" in mind!! Don't play it like you're running or making changes because the listeners don't HEAR it that way. Now if you're playing for other fellow musicians, that's a different approach because you can play the blues thru it at any tempo and the audience will DIG it!
It's funny because I just started focusing (seriously focusing) on rhythm changes, and see it's tough! Until now I've just assumed it was easy so I focused elsewhere... I thought it's simple I just play over ii v i amd.tepeat, but coming up with new ideas becomes tricky, and it can easily fall into boring ideas. Awesome video and much appreciated!
i am very upset about how long i had to listen to you guys amuse yourselves. i will NEVER watch anything from you guys again. 4 min in you still havent started. weak!!!!!!!!!!!
Thanks for sharing your knowledge, this is very valuable.
People who call rhythm changes in E and B are going to hell
🤣
Even A is already challenging for me lol
Is it only challenging for piano?
In fact, they come from hell
This has to be the most insightful and useful discussion on this topic. Confirms a lot of my guesses. Thank you
So glad I've found your Podcast.
It’s hilarious that Peter cannot endure one podcast without trying to make jokes ; seems like a lot of fun wish i could come through the studio and share over the keys . Love this podcast, much love to the both of you
As good as these guys as both musicians and teachers I was surprised at one key detail missed. in addition to the challenge of frequent tonic and repeated chords, one of the key practices - at least as far as bebop is concerned- is the harmony distinction of measures 5-8. Specifically that Bb is Bb7 moving to either Eb7 Eo or Eb6 Ebm. I think often players avoid this specific bebop detail. The specific challenge with 5 to 8 have to do with detailing these measures and choosing which path (the dominant to dominant or dominant to Minor. Also not so much harmonic as a phrase content issue - wrapping up 16 bars so if feels complete. The same could be said for the chorus. How you wrap up your phrases so it sounds final rather than just being at bar 16 or 32. it's a question of cadence
just my 2 cents
Good stuff but honestly I was expecting more on the next level of playing over these changes.for example,how to not sound like you’re just connecting chord tones all the the time.i can do it (although in high tempos it’s challenging) but I would like to feel more creative and original on this.one thing that I like and you didn’t talk about is playing a C#dim7 instead of the F7 cause a lot of the greats play it that way way I think.also playing the scales over each chord and not only the chord tones.
Agree. Had just watched Rick Beatto on rhythm changes and hoped for more. Yes, I liked the C#°7 (and you can think of that as an A7b9, a type of 'backdoor' dominant) - interesting for the harmonically obsessed! 😄
Check out Hal Galper's "Forward Motion" book
I am just glad that no trumpet players were made fun of in this episode.
I'm very disappointed that no trumpet players were made fun of during this video...
Jk. love you trumpet brothers.
09:38 - How many different ways can I go... - Eight. :D
6:58 FA LA LA LA LA
Randy Weston said Monk was the best piano teacher he ever had because Monk always just PLAYED the whole lesson and never wasted time talking ….
Is G7 more typical that G minor in rhythm changes?
Bb is gminor
@@gerardocoronado7594 I'm asking about them using a g7 chord rather than a gm chord
@@nylophone5730 un rythm changes all is possible. The thing is how and when
I would say so yea
G B F Bb low to high is a G7#9 chord, if you take away the B you have a Gm7 chord, G7 is more common, but the Bb maj triad which describes a Gm7 chord also describes a G7#9 chord.
Important rule : Peter MUST have at the very least, a keyboard in front of him at all times.... I can tell he really wanted to show us what hes saying...
The real problem is that musicians don't play it with "the listener" in mind!! Don't play it like you're running or making changes because the listeners don't HEAR it that way. Now if you're playing for other fellow musicians, that's a different approach because you can play the blues thru it at any tempo and the audience will DIG it!
I hate- HATE-I’ve got rhythm. I wish the jazz cognoscenti had picked a different song for this jazz trope
great piano advice, comedy not that good 😂
It's funny because I just started focusing (seriously focusing) on rhythm changes, and see it's tough! Until now I've just assumed it was easy so I focused elsewhere... I thought it's simple I just play over ii v i amd.tepeat, but coming up with new ideas becomes tricky, and it can easily fall into boring ideas. Awesome video and much appreciated!
i am very upset about how long i had to listen to you guys amuse yourselves. i will NEVER watch anything from you guys again. 4 min in you still havent started. weak!!!!!!!!!!!
Lmao, i admire that you’re not trying to beat around the bush but there’s nothing wrong with being a little relaxed buddy
Man had 4 minutes left to live :(
Hint. They never played it.