"ELLA" [secret code]. This is by far the best video on utube on this subject. I have seen them all. I have never seen the stride version of accompaniment expressed before, although I have always wanted to do it. A lot of the others accompaniment styles I have never seen explained this well before. I have your book, so now I will check out the chapters on Spread Voicings. I will try and seek a private lesson also. Thank you Jeremy.
My favourite piano-vocal duo album is “let no man write my epitaph” with Ella Fitzgerald & Paul smith. I’ve noticed you’ve basically covered all the individual techniques Paul uses in various videos but I tend to overuse a particular technique on each song which sounds a little dull and amateurish. I think a great idea would be a “putting it all together” video where you walk through how to add variety both within single phrases but also structurally (eg bridge vs head) in a single piece while accompanying
Thanks ro4 the nice comment! You might enjoy this video:Nuances of Simple Vocal Accompanying (ft. "My Romance") th-cam.com/video/PnV6be2PzzA/w-d-xo.html
I was listening to Ella and Oscar do Mean To Me yesterday and noticed that Peterson was very busy at the piano, so it was interesting, and timely, to hear your comments on his accompanying Ella.
Jeremy can you do a short lesson on examples of fills when accompanying a singer or instrumentalist? I know you say 'imitate a big band' but I am always a bit confused about what exactly to play in those gaps
Sure, I'll do that. But, it's basically just snippets of a jazz solo. So, learning about jazz improvisation in general is really what you need to do. To start with, try arpeggios (using 3, 5, 7, 9) and add in some chromatic neighbor tones.
Jeremy this is good stuff. Can you please cover accompanying a singer in a band setting as a pianist? Biggest issue for me after all these years of playing Jazz (still) is playing voicings that don't step on the vocalist, or having a note on the top of my voicing that stays out of the vocalists way and won't clash with the note they're singing. For example on All the Things You Are the melodies are often on the 3rds of the chords. If I play F minor 9 to play rootless, the 9th (G) will clash with the 3rd of what they're singing (Ab), etc. And good pianists often play like the singer isn't even there but they're still staying out of the way and adding nice little fills when there's pauses in the melody, etc. Any tips or a video on covering that with a tune example or two would be amazing!
“Shuttle” - yes, stride is traditionally every quarter note (with some possible variations) whereas shuttle can be more rhythmically irregular and for being reason sounds more modern and appropriate to bebop and swing styles.
One of the best comping tutorial I heard! Thank you
I’m honored! Thanks, Danilo!
@@JeremySiskind I'm looking forward to reqd your book!
You are an amazing teacher Jeremy
Amazing lesson, thank you Jeremy
"ELLA" [secret code]. This is by far the best video on utube on this subject. I have seen them all. I have never seen the stride version of accompaniment expressed before, although I have always wanted to do it. A lot of the others accompaniment styles I have never seen explained this well before. I have your book, so now I will check out the chapters on Spread Voicings. I will try and seek a private lesson also. Thank you Jeremy.
Really love your schematic approach. thanks!
Awesome! Thanks for checking thous out, lord Rimoah!
My favourite piano-vocal duo album is “let no man write my epitaph” with Ella Fitzgerald & Paul smith. I’ve noticed you’ve basically covered all the individual techniques Paul uses in various videos but I tend to overuse a particular technique on each song which sounds a little dull and amateurish. I think a great idea would be a “putting it all together” video where you walk through how to add variety both within single phrases but also structurally (eg bridge vs head) in a single piece while accompanying
Thanks ro4 the nice comment! You might enjoy this video:Nuances of Simple Vocal Accompanying (ft. "My Romance")
th-cam.com/video/PnV6be2PzzA/w-d-xo.html
I was listening to Ella and Oscar do Mean To Me yesterday and noticed that Peterson was very busy at the piano, so it was interesting, and timely, to hear your comments on his accompanying Ella.
Ella! Thanks for the great video!!
Lovely video, so much information, so well organised!
Ella
❤ amazing ! thanks for the tips , super useful
Jeremy can you do a short lesson on examples of fills when accompanying a singer or instrumentalist? I know you say 'imitate a big band' but I am always a bit confused about what exactly to play in those gaps
Sure, I'll do that. But, it's basically just snippets of a jazz solo. So, learning about jazz improvisation in general is really what you need to do. To start with, try arpeggios (using 3, 5, 7, 9) and add in some chromatic neighbor tones.
Jeremy this is good stuff. Can you please cover accompanying a singer in a band setting as a pianist? Biggest issue for me after all these years of playing Jazz (still) is playing voicings that don't step on the vocalist, or having a note on the top of my voicing that stays out of the vocalists way and won't clash with the note they're singing. For example on All the Things You Are the melodies are often on the 3rds of the chords. If I play F minor 9 to play rootless, the 9th (G) will clash with the 3rd of what they're singing (Ab), etc. And good pianists often play like the singer isn't even there but they're still staying out of the way and adding nice little fills when there's pauses in the melody, etc. Any tips or a video on covering that with a tune example or two would be amazing!
Ella ❤
Thanks Jeremy, really helpful.
Hi Jeremy, why did you call it "shuffle" instead of "stride"? Can you explain the distinction?
“Shuttle” - yes, stride is traditionally every quarter note (with some possible variations) whereas shuttle can be more rhythmically irregular and for being reason sounds more modern and appropriate to bebop and swing styles.
Ella!
Ella