My dad was at McGill University in Montreal in the late forties, and he would hear Oscar regularly at the Alberta Lounge (OP was still a local phenomenon at that point). Dad maintained his enthusiasm for jazz piano when I was growing up, and OP was one of the first musicians I saw live. No one ever had to explain swing to me; I had it in my DNA because of all that early exposure. Thanks, Pop!
Quite amusing intro -and wonderfully friendly productive joyous approach to teaching; using easy analysis of the harmonies, repetition, and ease of participation to provide insight. I really like this guy. My playing is decent enough, but there is always room for improvement - new ideas … and 17 minutes of instruction from a kind soul is just what I need on a Sunday morning - or any time of the week. How lucky we all are to have music in our lives in this otherwise toxic world of social media!
O, how I love the way you shed much love and respect for a music genius who cares so much for piano students like me. O! The love❤. Thank you for giving praise to the greats.
Oscar is here playing a very sophisticated version of The Lick, as an old Doctor John tutorial (Mac Rebennack I went through decades back called it. Dr. John gave close to a dozen variations of how different New Orleans piano players like Professor Longhair, Allan Toussaint, Huey Piano Smith, and such all had their personal spin on it. But it's not just the New Orleans R&B guys. The Lick is also all over Ray Charles and every kind of blues and jazz-blues playing yesterday, today, and tomorrow, and you can get away with using it in Gospel too. I would argue The Lick is far more central to the Blues than just running a blues scale with a flat-5, which any fool can do. And in the context of jazz-blues nobody ever did more with it than Oscar Peterson. So thanks for this, Adam.
So much of a tutor’s job is to be enthusiastic, and your genuine affection for the turns over the bar line here I’m sure is deeply infectious. Many thanks - do keep them coming.
Your observation about the true benefit of practicing given phrases in all 12 keys - truly understanding and ingesting the intervallic relationship - just opened up a whole new understanding for me. That’s an astute observation and is one I’m sure I “felt” but would’ve been hard pressed to vocalize. Thank you!
I'm just learning to play jazz on the piano these last couple years, and I chose to play 10 songs in all 12 keys, practicing a different key each day of the week. I've done it every day for 2 years now and I can honestly say that the hardest key for me (A) is only slightly more difficult than the easiest key for me (C). I can hear the intervallic relationships between everything much easier now too. I have to assume my playing is much better because of it, when compared to some alternate timeline where I only practiced these songs in one key, every day for 2 years.
@Lokeye as you know, for pianists it’s even more important to practice all 12 keys because of the white/black key patterns…I like to joke that guitarists have it easier than us (just a little easier, but not much). I find that Ab is the hardest key for me, and I agree that A is tricky too. Another challenge for me is I can’t reach tenths for D major, E major or A major with my left hand, so I end up doing a chord roll/arpeggio. That annoys me but my hand just isn’t big enough. That’s really cool you’ve been practicing that way and have stuck with it for two years. I’ve been playing since I was 5 but have never been a committed practicer. I’m sure your practice routine has made a huge difference in your playing!
@@russell_szabados Yeah you know it's strange because I wasn't able to notice the progress until I started recording myself once every 6 weeks and then my progress was easy to see and I felt a lot better about it all. I've been practicing the Barry Harris method on guitar as well and you're totally right, everything just shifts around real easily. The hard part for me with guitar is looking into the middle of that deep sea of a fretboard and trying to ascertain what the heck note I'm looking at, haha.
I don't know whether someone else has pointed it out, but you play the 16ths triplet of beat '3' in the middle of the beat (not at the end as you've written), which might be quite natural, and makes the 'fa' a full 16ths. However, the written version gives a slight emphasis on the first double-stop of beat '4'. This said, what Mr. Peterson actually plays on beat '3' is a sextolet : one 8th - then four 16ths. (And, of course, we all hear it, the D7 belongs to the next measure)
This is really just an F blues scale lick., I don’t think there is much happening here harmonically. Frankly I would play this scale over these chords. The way its played however, the easy graceful movement and swing, thats the Oscar magic. I know all of these notes and I understand what he’s doing totally . If I could play this phrase like this, it would be the best phrase I’d ever played. Right there is the genius. It just sounds f**king awesome and I just end up with a big smile every time I listen. It never gets old.
When you play the Bb and D together it implies Gm7 or the 2 and then theres the 2 again when u play the Bb and F then it goes to F or the 1 once u hit the F and A
Also the lick he commonly does which is B and D to Bb and D to A and C would be b3 diminished to 2 to 1. He’s outlining common super old school changes, that’s partly why it sounds so good, not just the blues!!!
This was a great video for Oscar Peterson's style. I learned from it but I have a slightly unrelated question. I am a piano teacher that would like to use the same "video" keyboard you are using. Can you please tell me which program you are using to be able to realtime play and display what you ae playing?
Very Cool. I think it's important and may make it easier to play if you noticed that the triplet figure right at measure 2 is really just playing the root and then a F triad in 2nd inversion. I mean you do have the 5th (c) on top of the a, but really the meat of it is A, F, C, which is an F triad in 2nd inversion descending.
Man...I was more interested in the bass line and accompaniment you were putting down! I love that stuff - accompaniments. Also, what metronome are you using??
How are you fingering that grace note B to C in the first bar? 23 is obvious, but Erroll Garner would slide 2 to 2 B to C, white key to white key, which also works!
Could you guys please do an episode on the Miles Davis version of 'If I were a bell'? The form in particular, it's really confusing for a newcomer to jazz like me.
Hey so I’m following this stuff conceptually great but don’t have the dexterity yet to pull it off and play along…how do I get there? What’s the step between scales and this?
Great stuff! I’ve had a lot of fun transposing it to other keys! It’s sometimes a challenge to keep my left hand comping correctly while doing the keys I haven’t internalized yet but I can tell this is doing good things for my playing. Playing this in A flat is a bit of a MF’er, especially that grace note from the B to C at the end inside the Ab major chord. Is it wrong to just use the 3rd finger to slide from B to C instead of trying to fit both fingers 1 and 2 inside that little space?😅
Update: in regards to the double stop at the end, I realized that playing the B with my index then lifting it out of the way quickly will leave room for my 3rd finger to play the C. Such an obvious fix. It’s interesting how new frameworks of finger mechanics must be thought through for different keys on the piano!
2:21 I don't hear F then D7 on the last chord though. I hear the F on the third beat then F7/A on the 4th beat. Maybe it's F/C and/or or C7 on the first two beat? Not saying the D7 won't sound good I just don't hear it. Maybe I should grab my headphones though cause maybe that third I hear in the bass is actually the third of D leading to the G7
Does anyone have tips for practicing the fingering on the down beat of the 2nd measure, with the pointer finger on the F and the ring finger and pinky on the A and C? I feel like I'm adding stress and potential injury to my hand by just going for it without understanding maybe some more healthy mechanics behind that hand position. I'm also excited because this specific hand stretch is what has been holding me back from playing Wynton Kelly solos. Thanks!
@@austinlitz7082 I love the gap and then 1 hour later you come back with the solution. Classic =) I'm excited to practice this in all 12 keys daily. It sums up so much of the sound I like in Oscar Peterson and Wynton Kelly.
A double stop is bowing two strings simultaneously on the violin, viola, cello, or double stops. The normal playing technique is to bow one string at the time. The normal playing technique of the piano Is to strike several keys simultaneously-and never to bow. Thus a piano is incapable of playing a double stop.
kit is incredible good stuff, congrats. tho I feel left aside. there are notes in left hand that are not F, and also the right hand not explained. sorry man, a have to skip this one
Gatsby the most disgusting breakfast cereal ever raisins are just grapes that have been wasted out especially them really dried up nasty ones in that cereal
My dad was at McGill University in Montreal in the late forties, and he would hear Oscar regularly at the Alberta Lounge (OP was still a local phenomenon at that point). Dad maintained his enthusiasm for jazz piano when I was growing up, and OP was one of the first musicians I saw live. No one ever had to explain swing to me; I had it in my DNA because of all that early exposure. Thanks, Pop!
Quite amusing intro -and wonderfully friendly productive joyous approach to teaching; using easy analysis of the harmonies, repetition, and ease of participation to provide insight. I really like this guy. My playing is decent enough, but there is always room for improvement - new ideas … and 17 minutes of instruction from a kind soul is just what I need on a Sunday morning - or any time of the week. How lucky we all are to have music in our lives in this otherwise toxic world of social media!
Looked like terrible product placement to me tbh
@@LetBBB6345789 well … then don’t be honest - just enjoy!
O, how I love the way you shed much love and respect for a music genius who cares so much for piano students like me. O! The love❤. Thank you for giving praise to the greats.
This channel is the coolest thing I've come across on TH-cam since I can remember....
Oscar is here playing a very sophisticated version of The Lick, as an old Doctor John tutorial (Mac Rebennack I went through decades back called it.
Dr. John gave close to a dozen variations of how different New Orleans piano players like Professor Longhair, Allan Toussaint, Huey Piano Smith, and such all had their personal spin on it. But it's not just the New Orleans R&B guys. The Lick is also all over Ray Charles and every kind of blues and jazz-blues playing yesterday, today, and tomorrow, and you can get away with using it in Gospel too.
I would argue The Lick is far more central to the Blues than just running a blues scale with a flat-5, which any fool can do. And in the context of jazz-blues nobody ever did more with it than Oscar Peterson. So thanks for this, Adam.
So much of a tutor’s job is to be enthusiastic, and your genuine affection for the turns over the bar line here I’m sure is deeply infectious. Many thanks - do keep them coming.
So cool Adam!! Great teacher… we all are blessed to be alive and be able to watch this 😎🔥👌
Thanks to all at open studio.
One stop for daily jazz needs.
Really enjoyed the Oscar tips
It feels great on the guitar . A little tricky at first.
Adam....Great stuff.....thanks for breaking it all down, and showing us how to work throught it to get to the meaningful result we aspire.
Your observation about the true benefit of practicing given phrases in all 12 keys - truly understanding and ingesting the intervallic relationship - just opened up a whole new understanding for me. That’s an astute observation and is one I’m sure I “felt” but would’ve been hard pressed to vocalize. Thank you!
I'm just learning to play jazz on the piano these last couple years, and I chose to play 10 songs in all 12 keys, practicing a different key each day of the week. I've done it every day for 2 years now and I can honestly say that the hardest key for me (A) is only slightly more difficult than the easiest key for me (C). I can hear the intervallic relationships between everything much easier now too. I have to assume my playing is much better because of it, when compared to some alternate timeline where I only practiced these songs in one key, every day for 2 years.
@Lokeye as you know, for pianists it’s even more important to practice all 12 keys because of the white/black key patterns…I like to joke that guitarists have it easier than us (just a little easier, but not much). I find that Ab is the hardest key for me, and I agree that A is tricky too. Another challenge for me is I can’t reach tenths for D major, E major or A major with my left hand, so I end up doing a chord roll/arpeggio. That annoys me but my hand just isn’t big enough.
That’s really cool you’ve been practicing that way and have stuck with it for two years. I’ve been playing since I was 5 but have never been a committed practicer. I’m sure your practice routine has made a huge difference in your playing!
@@russell_szabados Yeah you know it's strange because I wasn't able to notice the progress until I started recording myself once every 6 weeks and then my progress was easy to see and I felt a lot better about it all. I've been practicing the Barry Harris method on guitar as well and you're totally right, everything just shifts around real easily. The hard part for me with guitar is looking into the middle of that deep sea of a fretboard and trying to ascertain what the heck note I'm looking at, haha.
Really you should improvise different in all keys because the keys are different for a reason.
The one and only OSCAR PETRSON.
Great video
Greetings from Madrid.
🎹
This is teaching ☝️
An excellent video. Oscar merges, links, and mixes both the major and the minor blues scales together with lots of double stops and grace notes.
I don't know whether someone else has pointed it out, but you play the 16ths triplet of beat '3' in the middle of the beat (not at the end as you've written), which might be quite natural, and makes the 'fa' a full 16ths. However, the written version gives a slight emphasis on the first double-stop of beat '4'. This said, what Mr. Peterson actually plays on beat '3' is a sextolet : one 8th - then four 16ths. (And, of course, we all hear it, the D7 belongs to the next measure)
This is really just an F blues scale lick., I don’t think there is much happening here harmonically. Frankly I would play this scale over these chords. The way its played however, the easy graceful movement and swing, thats the Oscar magic. I know all of these notes and I understand what he’s doing totally . If I could play this phrase like this, it would be the best phrase I’d ever played. Right there is the genius. It just sounds f**king awesome and I just end up with a big smile every time I listen. It never gets old.
When you play the Bb and D together it implies Gm7 or the 2 and then theres the 2 again when u play the Bb and F then it goes to F or the 1 once u hit the F and A
Also the lick he commonly does which is B and D to Bb and D to A and C would be b3 diminished to 2 to 1. He’s outlining common super old school changes, that’s partly why it sounds so good, not just the blues!!!
What makes the first phrase special is OP establishing F minor blues over the dominant IIV7 ! So hip
Great lesson, thanks for the PDF, it's a long way from ordinary seaman to Captain Crunch.
Thank you very much. There is really good jab!
Thank You for sharing your knowledge for a piano great like Oscar Peterson. Thank You so much. You are awesome.❤
Thanks Adam and Open Studio!
Ottimo lavoro 👍👍👍
Paganiniana is a variation on Paganini 24th caprice
Sorry I had to
Another outstanding video, Adam!
Great lesson, thanks for your insight.
OP truly was the original poster
wonderful lesson!
Wow. Thank you!
This was a great video for Oscar Peterson's style. I learned from it but I have a slightly unrelated question. I am a piano teacher that would like to use the same "video" keyboard you are using. Can you please tell me which program you are using to be able to realtime play and display what you ae playing?
Such an opening Adam! Oh yeah !
Incredible
Nice work Adam!
Fingering 07:38 beat 1, measure 2, I assume the F is played with the 2 finger.
Hi from Argentina
Very good instructor
Great lesson, love this channel!
That’s so good!!!🎉🎉🎉
Very Cool. I think it's important and may make it easier to play if you noticed that the triplet figure right at measure 2 is really just playing the root and then a F triad in 2nd inversion. I mean you do have the 5th (c) on top of the a, but really the meat of it is A, F, C, which is an F triad in 2nd inversion descending.
We're calling diads on the piano double stops now? New to me.
Please make more tutorial about jazz piano of Oscar Peterson....thanks
Dude was high with his fellow, listening to Oscar P. and went "Yo Das crunchy"
Thanks!
Huge !
Amazing amazing amazing
Hi from Miami
Really great lesson and also really hard to get down rhytmically and technically
Man...I was more interested in the bass line and accompaniment you were putting down!
I love that stuff - accompaniments.
Also, what metronome are you using??
How are you fingering that grace note B to C in the first bar? 23 is obvious, but Erroll Garner would slide 2 to 2 B to C, white key to white key, which also works!
What an amazing pianist, but as a guitarist, this isn't crunchy enough.
Can you pump up the volume and gain for me thx.
Could you guys please do an episode on the Miles Davis version of 'If I were a bell'? The form in particular, it's really confusing for a newcomer to jazz like me.
Hey so I’m following this stuff conceptually great but don’t have the dexterity yet to pull it off and play along…how do I get there? What’s the step between scales and this?
Slow it way down to where you can play it. Once you have mastered it slow, playing it up tempo will come much more naturally.
Great stuff! I’ve had a lot of fun transposing it to other keys! It’s sometimes a challenge to keep my left hand comping correctly while doing the keys I haven’t internalized yet but I can tell this is doing good things for my playing.
Playing this in A flat is a bit of a MF’er, especially that grace note from the B to C at the end inside the Ab major chord. Is it wrong to just use the 3rd finger to slide from B to C instead of trying to fit both fingers 1 and 2 inside that little space?😅
Update: in regards to the double stop at the end, I realized that playing the B with my index then lifting it out of the way quickly will leave room for my 3rd finger to play the C. Such an obvious fix. It’s interesting how new frameworks of finger mechanics must be thought through for different keys on the piano!
Thank you so much for the video!
From which tunes are the examples at 0:35?
2:21
I don't hear F then D7 on the last chord though. I hear the F on the third beat then F7/A on the 4th beat. Maybe it's F/C and/or or C7 on the first two beat?
Not saying the D7 won't sound good I just don't hear it. Maybe I should grab my headphones though cause maybe that third I hear in the bass is actually the third of D leading to the G7
I wonder what was Peter's reaction to his portrait in this video. Seriously.
And, I love Raisins to this day !
Man, you sound just like him!
Really good stuff Adam. For my taste Oscar was the G.O.A.T. Tatum had fingers galore but Oscar was the better musician.
Can you do a lesson of Barry Harris solo in Jeannine please
I need it!
Does anyone have tips for practicing the fingering on the down beat of the 2nd measure, with the pointer finger on the F and the ring finger and pinky on the A and C? I feel like I'm adding stress and potential injury to my hand by just going for it without understanding maybe some more healthy mechanics behind that hand position. I'm also excited because this specific hand stretch is what has been holding me back from playing Wynton Kelly solos. Thanks!
came here to ask same thing
15 min of practice it flows index ring pinky
@@austinlitz7082 I love the gap and then 1 hour later you come back with the solution. Classic =) I'm excited to practice this in all 12 keys daily. It sums up so much of the sound I like in Oscar Peterson and Wynton Kelly.
killingggggg
I want raisins in my piano playing
what solo is this from?
I have this album, now to find a record player...
The figure over the F is killing me.
Are double stops intervals?
Key of 'F'?
Why is the key signature 'C'?
Hello from UCity
OP is OP
Lol
Ok, Raisin Bran Crunch is definitely underrated tho. I swear I’m not an old person.
Any twosetters here?
More OP crunchy double stops th-cam.com/video/lDku8sY_Iag/w-d-xo.html
Hillary is amazing. I know her uncle.
Is he Jack Nicholson's son?
The first grace note should have a 'natural' accidental.
Hey, has anyone tell you, " You look like Robert Englund? "
Your intro hahahah
👍
A double stop is bowing two strings simultaneously on the violin, viola, cello, or double stops. The normal playing technique is to bow one string at the time. The normal playing technique of the piano Is to strike several keys simultaneously-and never to bow. Thus a piano is incapable of playing a double stop.
Yeah. They’re just double-notes. (They’ve been around for a while…)
kit is incredible good stuff, congrats. tho I feel left aside. there are notes in left hand that are not F, and also the right hand not explained. sorry man, a have to skip this one
Oscar > Kellogg's
C’mon man…it;s the key of F. Add the B-flat to the key signature and use accidentals. The whole thing looks like the key of C.
Gatsby the most disgusting breakfast cereal ever raisins are just grapes that have been wasted out especially them really dried up nasty ones in that cereal