I will be doing a lesson on bitonality / polytonality soon - going to be announcing my 2nd youtube channel where I'll be covering interesting music theory like this, not specifically jazz. Will be announce very soon!
This technique is greatly used in Cuban music. Cuban an Latinamerican musicians are masters of this. Try using octaves and even full chords on your right hand and it will sound even better.
You have a very clean sophisticated and yet unpretentious nor jive sound...you always successfully skate that fine line beautifully and I enjoy listening. Kudos!
When playing out of key, I look for keys (scales) that have as many different notes as possible. So if I was IN C major, I might play out to Db major, or F# major for example - both have a lot of different notes to C major. In the 'Suit & Tie' cover though, I was playing out between D maj 7 and E min 7, so I looked for a scale that had a fair amount of notes different both to D maj AND E min. I thought the Bb lydian-dominant scale was a good compromise - had some notes different to both chords.
It's worth noting that although 'paradiddle' refers to a specific rudiment, it also is a general word applied to stickings that are made up of a combination of singles ('para') and doubles ('diddle').
Very nice video! I've been trying to incorporate drum rudiment ideas into my guitar playing but it looks like its easier to do on piano. If you want to get super fancy with the paradiddles, come up with an 8th note paradiddle pattern in the left hand with maybe a chord but alternate between extensions while playing a melody in the right hand with a 16th note paradiddle pattern using scale tone or arpeggio sequences. similar to a drummer playing a 8th note paradiddle with his feet and 16th note paradiddles with his/her hands at the same time. Not easy to do. Also if you play in a slower tempo, instead of just playing a paradiddle, you can play a flam-paradiddle or a single dragadiddle. drummers also learn paradiddles starting on different notes so there is actually 3 ways to invert the paradiddle and they all sound different.
Nice! I'm trying to tell if you're using true paradiddles anywhere in there, i.e., RLRR LRLL, but I haven't seen them yet. Could have a lot of applications, including in swing time. E.g., using the paradiddle pattern (and not nec. between the hands) on the 8th-note trips would give a line a deeply syncopated feel. Other drum rudiment patterns would prob. be cool too. Eg. the double-paradiddle: RLRLRR LRLRLL would work in swing as 8th-note trips, in straight time as 16ths, & in 12/8 as 8ths.
nice, some right hand slide slipping would be nice-- that is, for a brief moment move the right hand improvisation up 1/2 step (in key) while maintaining the original key in left hand and in background music. Commit to the modulations for brief moment, then return right hand to original key. thanks for sharing.
Am just starting to explore your fabulous videos. Firstly . . . A big "thank you" for sharing you priceless knowledge for free. I wonder if you would mind helping beginners by grading your videos with a simple notation system so they can hone in on the material via a pathway from more simple to more complex concepts? I'm enjoying routing through all of your material, but I sense it might all gel more quickly if it was graded in some way? Am just away to download your publication on jazzhero.com. Am well and truly hooked.
Notable: A penatonic is also consonant over A7, meaning that you could use A pentatonic over a ii-V-I in D major and it'd sound okay. Personally, I'm not that big a fan of the C# over the Em7. Not 'never', it's just jarring and should be used sparsely IMO.
B flat dominant has two or three leading tones to the E minor scale. This causes the chord to want to resolve to E minor. To include, B flat dominant has some of the same notes as the E minor scale, so it isn't completely dissonant, which is why it sounds nice yet interesting. Just an FYI, one thing he didn't mention in this video is that he sharpened the sixth in the E minor scale, which is why the A pentatonic scale fits.
I imagine that having a short decay to the sound helps for demonstration purposes for the audience to distinguish the separate attacks more clearly. It makes a lot of sense for demonstrating rhythmic techniques.
You need to change your thumnail i never click on it cuz it never looks interesting although this channel has some great content i get detoured by the thumbnail cuz it seems too lectury
Thanks Doug! Really pleased to hear this lovely feedback, glad these help!
Thanks Bj! Really pleased this one was up your alley. I'm sure your left hand will become the new right :)
I will be doing a lesson on bitonality / polytonality soon - going to be announcing my 2nd youtube channel where I'll be covering interesting music theory like this, not specifically jazz. Will be announce very soon!
Thanks! I try to keep the style & fonts evolving, glad you noticed!
Thanks Star Bluez! Appreciate hearing this
Thanks James, glad to hear this helps! Let me know if you post a video of your playing :)
This technique is greatly used in Cuban music. Cuban an Latinamerican musicians are masters of this. Try using octaves and even full chords on your right hand and it will sound even better.
You have a very clean sophisticated and yet unpretentious nor jive sound...you always successfully skate that fine line beautifully and I enjoy listening. Kudos!
When playing out of key, I look for keys (scales) that have as many different notes as possible. So if I was IN C major, I might play out to Db major, or F# major for example - both have a lot of different notes to C major.
In the 'Suit & Tie' cover though, I was playing out between D maj 7 and E min 7, so I looked for a scale that had a fair amount of notes different both to D maj AND E min. I thought the Bb lydian-dominant scale was a good compromise - had some notes different to both chords.
Very clear and concise style of teaching. I like it very much!!
It's worth noting that although 'paradiddle' refers to a specific rudiment, it also is a general word applied to stickings that are made up of a combination of singles ('para') and doubles ('diddle').
the new layout is pretty cool!
Very nice video! I've been trying to incorporate drum rudiment ideas into my guitar playing but it looks like its easier to do on piano. If you want to get super fancy with the paradiddles, come up with an 8th note paradiddle pattern in the left hand with maybe a chord but alternate between extensions while playing a melody in the right hand with a 16th note paradiddle pattern using scale tone or arpeggio sequences. similar to a drummer playing a 8th note paradiddle with his feet and 16th note paradiddles with his/her hands at the same time. Not easy to do. Also if you play in a slower tempo, instead of just playing a paradiddle, you can play a flam-paradiddle or a single dragadiddle. drummers also learn paradiddles starting on different notes so there is actually 3 ways to invert the paradiddle and they all sound different.
great one!! when you play it looks very simple but it isn t!!!!!thanks and more of this!!!all night and day!!
Great lesson !
Thanks Julian
nice techniques!! i´ve played with your methods. amazing!
Very helpful!! Thank you!!!
This is what exactly I'm looking for! Thanks!
Nice!
I'm trying to tell if you're using true paradiddles anywhere in there, i.e., RLRR LRLL, but I haven't seen them yet.
Could have a lot of applications, including in swing time. E.g., using the paradiddle pattern (and not nec. between the hands) on the 8th-note trips would give a line a deeply syncopated feel.
Other drum rudiment patterns would prob. be cool too. Eg. the double-paradiddle: RLRLRR LRLRLL would work in swing as 8th-note trips, in straight time as 16ths, & in 12/8 as 8ths.
I've been playing in a wedding band for years and I still learn a lot from your videos. Thanks a bunch and keep up the good work!
Thank you so much!!!! Really this is incredible, maybe I'll make a video based from your tutorials
Busting the Jazz secrets one by one! You'll have the Jazz Police after you next! ;) Great content and great style - thank-you!
Great as always, Gracias
nice, some right hand slide slipping would be nice-- that is, for a brief moment move the right hand improvisation up 1/2 step (in key) while maintaining the original key in left hand and in background music. Commit to the modulations for brief moment, then return right hand to original key. thanks for sharing.
Love your videos!
My friend, i love your lessons ! I'm bass player.
Excellent music tools.....Thanks Julian!!
Doug G in LV
Do you play with a band I would like to hear you what band or what group of people are you playing with thanks
I forgot to say - lots of slow practice first!
Bradley sir
I m not getting how the d major chord will work with a pentatonic scale will it match
Because A pentatonic scale does not have d note.
I love you man!!!
ɷɷɷ Heeyy Friends I Have F0undddd W0rikingg Online Hacck visittttt : - t.co/LsWlQXz5EV
Busts rhymes!
Am just starting to explore your fabulous videos. Firstly . . . A big "thank you" for sharing you priceless knowledge for free. I wonder if you would mind helping beginners by grading your videos with a simple notation system so they can hone in on the material via a pathway from more simple to more complex concepts? I'm enjoying routing through all of your material, but I sense it might all gel more quickly if it was graded in some way? Am just away to download your publication on jazzhero.com. Am well and truly hooked.
Notable: A penatonic is also consonant over A7, meaning that you could use A pentatonic over a ii-V-I in D major and it'd sound okay. Personally, I'm not that big a fan of the C# over the Em7. Not 'never', it's just jarring and should be used sparsely IMO.
AMAZINGGGG^^
Why the Bflap? Why him speificifically?
B flat dominant has two or three leading tones to the E minor scale. This causes the chord to want to resolve to E minor. To include, B flat dominant has some of the same notes as the E minor scale, so it isn't completely dissonant, which is why it sounds nice yet interesting. Just an FYI, one thing he didn't mention in this video is that he sharpened the sixth in the E minor scale, which is why the A pentatonic scale fits.
+Mr.Derpzter Thanks!
the keyboard sound sucks... never heard a piano with such short decay sound ;)
but very good tutorial!!! thx, but not exactly paradiddles...?!
I imagine that having a short decay to the sound helps for demonstration purposes for the audience to distinguish the separate attacks more clearly. It makes a lot of sense for demonstrating rhythmic techniques.
Pat Metheny ,,,
You need to change your thumnail i never click on it cuz it never looks interesting although this channel has some great content i get detoured by the thumbnail cuz it seems too lectury