Writing a new page in the free knowledge book by the day 📖 I don't even know my scales and yet I feel like getting the bigger picture thanks to you, twitch and the TH-cam team ↗️⛰
The composer, Erroll Garner uses the minor iii 7 (actually in key of C for him, So, instead of Gmin7 to Cm7, it is, of course, Em7 to Am7,) in the first eight. At the end of the second eight he can be seen switching to more exotic augmented/whole-tone-based chords for the E7+ (E, F#, G#, A#, D) and same for a dark A7+ (C#, D#, F, G below middle C). In neither case does he use a tonic chord in first inversion (Eb/G, or C/E) Not that there is anything "wrong" with that as an alternate, this is "jazz" after all. But it's not the song. With both sets of changes he employs, he's not too worried about these passing tone "clashes." He's thinking horizontally, melodically. Teaching "vertically" has it's place: the garbage can. (only half kidding, but that is what so-called jazz education is reduced to, too often, scales and matching chords, and vice versa).
Interesting - I’ve never heard a version were Erroll uses anything other than Em7 (definitely not a m9 there lol) or Cm7 (he also plays it in Ab). If you re-watch, you’ll see I consider both C/E and Em7 as good options, but I/he would never play Em9, which is my main point. Can you tell me which version this whole tone thing happens on? I’ve never heard that and it really interests me. Lastly, playing this music is not so much about playing vertically vs horizontally in my opinion, but more so about harmonic awareness. You’ll notice I say it’ll not “wrong”, but that I wouldn’t recommend a m9 there. Errol garner is very intentional with his harmonic choices and so it’s no surprise to me that in every version I’ve ever heard him play he has not once used a m9 in that bar. As for the whole tone moment, I may be able to imagine that happening during an improvisation, but I’d be amazed to hear it over the melody. Can you tell me which version?
Yes, I see you are presenting a multifaceted look into the world of chords, and your material is very good, very logical, expansive. And here is the second eight with changes I mention. I must have misunderstood your bringing up the min 9, we all agree on that idea, I now see. Cheers. th-cam.com/video/O1kZSkNBU9Q/w-d-xo.html
@@zdogg8 that’s so dope! As I say at the end of every video, all rules are meant to be broken in music. that said, I love the whole tone there, and he delays the melody so that “clash” is so momentary. Also the melody is part of the next chord (A7alt) so it could just be an anticipation. I know getting analytical is dangerous but sometimes I think it’s a disservice to these greats to underestimate their intention with these details, but that’s just me. I could totally be wrong here but I’d like to think that Garner was super deliberate with these things. Thanks for contributing man, I had no idea Errol ever did that there! Dope!
@@kiefdaddysupreme Addendum: Garner avoids the ninth, he just plays, in the first eight, a straight min 7. The ninth (you brought that into the equation) would be adding more clash potential, (I see now where you are simply discussing 9th as a not so good choice, OK, got it) since this is what you're concerned about. Of course, Garner is often using the span of three or four octaves often, in execution of these ideas, obviously a factor. It's funny, people will study Hancock's exact licks and duplicate those in Cantaloupe Island, for example, and negotiate the so-called clash with stylistic deftness of touch, or just hear past the same, but Misty is reduced to a chord chart.
@@kiefdaddysupreme Sure, you're welcome, keep up the good work. Garner plays so conventionally and in two seconds switches up to something that just goes over everyone's head, even his sometimes, I'll suppose. He's so not tied to rules that he's not afraid of the conventional if it serves the music, which is always his aim. He played tunes no jazz artist would touch, somewhat the same idea, if he could extract something rich from the most inane ditty, he would go for it.
If I may, I'd say go to the composer himself, his version (versions) is the quintessence of a piano presentation (pretty sure Kiefer would agree). For vocal, I would suggest Sarah Vaughn, just superb and her accompanist for that, at least this version, Kirk Stuart, is outstanding. This is a song to definitely learn in more than one key, btw. th-cam.com/video/lJXLqAutql4/w-d-xo.html
I like the description 'unstable' because it means neither good nor bad. It just depends on what you want when you are composing. Sometimes when I'm writing I need something to sound unstable, sometimes I need something to sound more stable. Certain genres of music tend to use harmony I would personally define as more 'stable' than others. It really depends what situation I'm in, how I'm feeling, and what is happening in a certain moment of music. The more experience I've gathered, the more I know about what an 'unstable' chord can do for me.
So Kiefer your videos of you making beats with some of my favorite artist made my year. With that being said lol I have some requests. I need you to pay the following artists a visit Tom Misch Madlib Freddie Joachim CYGN J. Rawls Maverick Soul Lindecis Please and thank you lol
![[Live] : ONE FIGHT NIGHT 26 วันนี้!! “คริสเตียน vs อาลิเบก”](http://i.ytimg.com/vi/UlIiZ3t8nHQ/mqdefault.jpg)
![เปิดบ้าน โคตรสวย ป๋องกพล รู้จักตั้งนาน เพิ่งรู้ว่ารวย!!! l [Nickynachat]](http://i.ytimg.com/vi/tmgCF_2HfYI/mqdefault.jpg)
Writing a new page in the free knowledge book by the day 📖 I don't even know my scales and yet I feel like getting the bigger picture thanks to you, twitch and the TH-cam team ↗️⛰
Thank you for supporting and watching! Happy to share what I know.
youre saving my life with these thank you
Happy to share what little I've learned!
Thank you so much for always sharing your knowledge. You're one of my favorite musicians. So humble and generous!
Holy shit man!! You fucking killed it on misty,that’s my favorite standard!! This is my new favorite version, I want this shit on vinyl homie
Thank you! It's one of my favorite standards as well.
god damn kief!!!!! 7 mins on gave me chills my dude. thanks for starting my morning off right!
Thank you, it's my pleasure.
@@kiefdaddysupreme thanks sensei!
Amazing! shoutout from Brazil as well!!
Shoutout Brazil! Thank you!
The composer, Erroll Garner uses the minor iii 7 (actually in key of C for him, So, instead of Gmin7 to Cm7, it is, of course, Em7 to Am7,) in the first eight. At the end of the second eight he can be seen switching to more exotic augmented/whole-tone-based chords for the E7+ (E, F#, G#, A#, D) and same for a dark A7+ (C#, D#, F, G below middle C). In neither case does he use a tonic chord in first inversion (Eb/G, or C/E) Not that there is anything "wrong" with that as an alternate, this is "jazz" after all. But it's not the song. With both sets of changes he employs, he's not too worried about these passing tone "clashes." He's thinking horizontally, melodically. Teaching "vertically" has it's place: the garbage can. (only half kidding, but that is what so-called jazz education is reduced to, too often, scales and matching chords, and vice versa).
Interesting - I’ve never heard a version were Erroll uses anything other than Em7 (definitely not a m9 there lol) or Cm7 (he also plays it in Ab). If you re-watch, you’ll see I consider both C/E and Em7 as good options, but I/he would never play Em9, which is my main point. Can you tell me which version this whole tone thing happens on? I’ve never heard that and it really interests me. Lastly, playing this music is not so much about playing vertically vs horizontally in my opinion, but more so about harmonic awareness. You’ll notice I say it’ll not “wrong”, but that I wouldn’t recommend a m9 there. Errol garner is very intentional with his harmonic choices and so it’s no surprise to me that in every version I’ve ever heard him play he has not once used a m9 in that bar. As for the whole tone moment, I may be able to imagine that happening during an improvisation, but I’d be amazed to hear it over the melody. Can you tell me which version?
Yes, I see you are presenting a multifaceted look into the world of chords, and your material is very good, very logical, expansive. And here is the second eight with changes I mention. I must have misunderstood your bringing up the min 9, we all agree on that idea, I now see. Cheers. th-cam.com/video/O1kZSkNBU9Q/w-d-xo.html
@@zdogg8 that’s so dope! As I say at the end of every video, all rules are meant to be broken in music. that said, I love the whole tone there, and he delays the melody so that “clash” is so momentary. Also the melody is part of the next chord (A7alt) so it could just be an anticipation. I know getting analytical is dangerous but sometimes I think it’s a disservice to these greats to underestimate their intention with these details, but that’s just me. I could totally be wrong here but I’d like to think that Garner was super deliberate with these things. Thanks for contributing man, I had no idea Errol ever did that there! Dope!
@@kiefdaddysupreme Addendum: Garner avoids the ninth, he just plays, in the first eight, a straight min 7. The ninth (you brought that into the equation) would be adding more clash potential, (I see now where you are simply discussing 9th as a not so good choice, OK, got it) since this is what you're concerned about. Of course, Garner is often using the span of three or four octaves often, in execution of these ideas, obviously a factor. It's funny, people will study Hancock's exact licks and duplicate those in Cantaloupe Island, for example, and negotiate the so-called clash with stylistic deftness of touch, or just hear past the same, but Misty is reduced to a chord chart.
@@kiefdaddysupreme Sure, you're welcome, keep up the good work. Garner plays so conventionally and in two seconds switches up to something that just goes over everyone's head, even his sometimes, I'll suppose. He's so not tied to rules that he's not afraid of the conventional if it serves the music, which is always his aim. He played tunes no jazz artist would touch, somewhat the same idea, if he could extract something rich from the most inane ditty, he would go for it.
Thank you got some got me playing around with a interesting voicings.
❤️
Thank you so much kief🙏🙏🙏
HOLY fire! this version misty !!!!
Whoever said records shirts and donuts wit jd and domi are onto something 🤔
😮
That would be fire. I love them both
geez that misty demo, what version do you suggest listening of this tune?
If I may, I'd say go to the composer himself, his version (versions) is the quintessence of a piano presentation (pretty sure Kiefer would agree). For vocal, I would suggest Sarah Vaughn, just superb and her accompanist for that, at least this version, Kirk Stuart, is outstanding. This is a song to definitely learn in more than one key, btw. th-cam.com/video/lJXLqAutql4/w-d-xo.html
Boa sorte!
I agree with @zdogg8 - definitely go with Erroll Garner!
Good lesson BROW
Thanks BROW
How do you define "unstable"? To my total beginner mind it seems to just mean "sounds wrong" but i'm sure it's more than that.
I like the description 'unstable' because it means neither good nor bad. It just depends on what you want when you are composing. Sometimes when I'm writing I need something to sound unstable, sometimes I need something to sound more stable. Certain genres of music tend to use harmony I would personally define as more 'stable' than others. It really depends what situation I'm in, how I'm feeling, and what is happening in a certain moment of music. The more experience I've gathered, the more I know about what an 'unstable' chord can do for me.
So Kiefer your videos of you making beats with some of my favorite artist made my year. With that being said lol I have some requests. I need you to pay the following artists a visit
Tom Misch
Madlib
Freddie Joachim
CYGN
J. Rawls
Maverick Soul
Lindecis
Please and thank you lol
We absolutely will take a look into it!
@@kiefdaddysupreme you are the freaking best!!!
Very impressive performance and educational at the same time. Would you love to perform live on Sessions?
Thank you!