Creating Connections with Common Tones and Contrasting Tones
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Pianist, composer, author, and collector of rare Indonesian stamps Jeremy Siskind shows how improvisers can analyze chord progressions for common tones and contrasting tones and use them as a basis of a solo to create longer lines with stronger connections.
Your comment: "...makes you sound like you know the harmony..." is a foundational pillar in my musical life. I realized my logical brain really needed this boost. Thanks, Jeremy!
I''m 1 minute 43 seconds into the video and already I have a big smile and a few chuckles. Great stuff!
I know this, but it's nice to hear it explained clearly and demonstrated beautifully. It makes me more conscious of it, and gives me more confidence to use it.
Cool video in common with your others Jeremy and in contrast to some other less accomplished music "educators" on TH-cam! Thank you.
Hey Jeremy,
I appreciate all the great work you put into this channel-it's been a huge help in my journey to becoming a solo jazz pianist. Being from Iraq 🇮🇶, jazz resources are scarce, and you've been my main guide for over three years. Thank you!
I have a question: When practicing a transcribed lick in all 12 keys, is it better to:
1. Analyze the lick in each key (e.g., noting its relation to the chord tones)?
2. Play it in the original key, then sing it in the next before playing, focusing more on ear training than analysis?
and is it any help if I just pitch shift down where i heard it and sort of transcribe it again if that makes sense? Would love your thoughts!
Thanks again!
Using "common" tones and contrasting tones to create an "uncommonly" good sound!
Hey Jeremy, love your videos. A bit off topic from the video, but how does playing shearing block chords over a half diminished chord work? e.g playing over Dm7flat5 Galt . Do you just play diatonic chords for chords that dont fit the pattern?
think fmin6
both of their "nonchordtone-chords" are e-g-bb-db, e dimished, since both of their dominants (A7b9 and C7b9) are in a minor third relationship and therefore share a rootless b9 chord
Fun fact: any two seven-note scales must have at least two common tones, since there are only 12 pitches to choose from!