I thought you would use "I Should Care" as the example tune, given the title of the video, but this works too! Excellent and logical teaching style, with a great focus on basics that seems to often be lacking in jazz education. Thank you!
I have just finished watching the video for the second time and learnt so much more as a result. A great video. I am one of those people who is stuck to the piano sheet and really want to wean myself off it, so learning the language and understanding why chords go where they do will help me a lot. Many thanks.
Love this! Freedom to play is exactly why I want to learn jazz. I'm a terrific sight reader on several instruments, but take the dots away and I'm lost. This kind of approach is exactly what I'm lacking. Thanks!
Beautiful lesson and thank you for sharing your knowledge. My question is about diminished chords. I'm used to resolving them 1/2 step above any tone in the diminished chord... I guess it's a Barry Harris school of thought. Why does the third diminished resolved so nicely to the ii chord?
I would give an arm and a leg for some more in-depth videos, especially on the kind of thing that appears at around 8:35. I've watched the majority of the videos on you channel, and a bit of information on getting that kind of 'feel' seems to be the missing link in video form!
I do feel that understanding songs, or rather I should say tunes, for a large part goes for jazz playing and improv. I dont feel like it would make sense to know about the chord progressions of the song I cocered yesterday as the song is so skill dependant. You just gotta work it and it doesnt really apply anywhere else, other than the fingerpicking part. Id say the strategy is somewhat genre dependant
And also, when I listened to a song too much, any alteration I do on vocals will quickly sound weird to me. So what to do? Not listen too much, what if there is only one solid rendition available? That also is different for a lot of songs. Jazz standards just have a lot of room for places to go, and lots of inspiration to draw from. And many later songs just dont
And besides, take a guy, I dont know, Sinatra, or in fact Bublé. These guys got guidance. Even if they do a rendition that is unique. It doesnt mean that they dont have a team of guys like you behind them serving them with some sweet notation aye. Its unhealthy to have it all come down to one person, its an excuse. But its a pretty valid one
Left brain nightmare, to me. Personally I play the changes for a singer (me and others) in many ways - and I don’t play these these changes to this song, btw. I ignore them all when soloing. In soloing I play what I sing in my head. The changes work for me, I don’t work for them. If I can’t sing it, I don’t play it. This stuff is a dead end to me. I’ve spent the last 50 years shutting my left brain down. SING IT. Singing what you play is a path to playing what you sing. All the rest is the journey. To me, personally, this kind of analytical path is interesting, but fraught with danger. Inspired playing is sung in your right brain, not calculated in your left brain - in my humble opinion.
I like your teaching and explanation very much.However when you say it doesn’t matter what it sounds like, it stops me in my tracks. If you don’t attend to what it sounds like, it’s not music. I can’t believe you really mean that.Do you?
I thought you would use "I Should Care" as the example tune, given the title of the video, but this works too! Excellent and logical teaching style, with a great focus on basics that seems to often be lacking in jazz education. Thank you!
Glad it helped you and I wish you well with your playing!
I have just finished watching the video for the second time and learnt so much more as a result. A great video. I am one of those people who is stuck to the piano sheet and really want to wean myself off it, so learning the language and understanding why chords go where they do will help me a lot. Many thanks.
Wonderful! With the right work and a little persistence, you will get there!
Super insightful, especially about that move from the diminished to the sixth. I've heard that a million times, but now it makes more sense.
Great! Glad it helped and happy practicing!
Great video. Jazz is a beautiful art form. It's like painting with sounds.
Thanks.
Thanks!
Love this! Freedom to play is exactly why I want to learn jazz. I'm a terrific sight reader on several instruments, but take the dots away and I'm lost. This kind of approach is exactly what I'm lacking. Thanks!
With the right work, you'll get there!
that was super clear, to the point, and helpful to me--thank you much:)
You're very welcome!
Yeah probably gotta watch more of these videos. Good that you say what is required knowledge every now and then. It helps connect rudiments to playing
Well taught!
Excellent
Beautiful lesson and thank you for sharing your knowledge. My question is about diminished chords. I'm used to resolving them 1/2 step above any tone in the diminished chord... I guess it's a Barry Harris school of thought. Why does the third diminished resolved so nicely to the ii chord?
There are a couple of ideas about that. If you're looking for a dominant explanation, it's a bit like B7 rto Em7 (Em7 is much like CMaj7)
If it wasn’t for TH-cam, how would we come across such great lessons?
Thank you!
My pleasure!
Always good stuff! 👌
Thank you so much. Appreciate it!
very interesting, thanks
I would give an arm and a leg for some more in-depth videos, especially on the kind of thing that appears at around 8:35. I've watched the majority of the videos on you channel, and a bit of information on getting that kind of 'feel' seems to be the missing link in video form!
And I do kinda like to cooy songs exactly just to see how close I can get it haha. Good memory training
Copying or transcribing is a worthwhile activity, just completely different than this one.
I do feel that understanding songs, or rather I should say tunes, for a large part goes for jazz playing and improv. I dont feel like it would make sense to know about the chord progressions of the song I cocered yesterday as the song is so skill dependant. You just gotta work it and it doesnt really apply anywhere else, other than the fingerpicking part. Id say the strategy is somewhat genre dependant
And also, when I listened to a song too much, any alteration I do on vocals will quickly sound weird to me. So what to do? Not listen too much, what if there is only one solid rendition available? That also is different for a lot of songs. Jazz standards just have a lot of room for places to go, and lots of inspiration to draw from. And many later songs just dont
But if I would cover “all of me” and do it exactly like Bublé sang it, yeah sure, feel free to come at me. But a cowboy song remains a cowboy song 😂
Talk a little bit more about the language of the music that helps me a lot. Thank you to reflection of Barry Harris....
Thank you! I wish you well with your playing.
And besides, take a guy, I dont know, Sinatra, or in fact Bublé. These guys got guidance. Even if they do a rendition that is unique. It doesnt mean that they dont have a team of guys like you behind them serving them with some sweet notation aye. Its unhealthy to have it all come down to one person, its an excuse. But its a pretty valid one
Left brain nightmare, to me. Personally I play the changes for a singer (me and others) in many ways - and I don’t play these these changes to this song, btw. I ignore them all when soloing. In soloing I play what I sing in my head. The changes work for me, I don’t work for them. If I can’t sing it, I don’t play it. This stuff is a dead end to me. I’ve spent the last 50 years shutting my left brain down. SING IT. Singing what you play is a path to playing what you sing. All the rest is the journey. To me, personally, this kind of analytical path is interesting, but fraught with danger. Inspired playing is sung in your right brain, not calculated in your left brain - in my humble opinion.
I like your teaching and explanation very much.However when you say it doesn’t matter what it sounds like, it stops me in my tracks. If you don’t attend to what it sounds like, it’s not music. I can’t believe you really mean that.Do you?
Excellent