Playing the major dim6 scale but applying it at the dominant V rather than the I is new to me. Like when he played a Bb dim6 scale with Bb V-chord leading to Eb I-chord at 47:46 and again at 51:24. At first I thought “wait.. doesnt he mean Eb dim6 scale? The root clearly sounds like Eb - and also there is no dom 7 on the Bb” but then realised it was indeed a Bb dim 6 scale he used. Very cool! To me it is nice as you get the bright lydian sound on the Eb tonic (if you keep the scale on both the dominant and the tonic) and also you get the diminished chord on the Eb tonic as well giving the very familiar Idim-Imaj7 connection where the dim chord within the dim6 scale function more like a passing chord or leading chord rather than a traditional dominant b9 chord leading to the tonic. Also the voice leading is really nice as you get the #9-3 and the #4-5 over the 5-1 or 1-1 bass. I clearly recognize this sound (Io7-IMaj7) from classical, spirituals, gospel, early blues and jazz and the strong similarity to the more traditional use of the dim6 scale where it is used at the root giving you the alteration between M6 (or m6) chord at the root and a dim7 dominant chord starting from the leading tone, but never thought of it this way before :)
Kiefer is one of my favorite keyboardists a great musician and educator, thank you so much for this episode. Coming up next Elijah Fox or Jesus Molina 🙏🏻
Great interview. I love the moments when jazz pianists change their mind. A hand moves to a region but then, no, that’s not how this story goes. I’ll do *this* instead.
Amazing interview as always Noah! Today I got stuck on one of the topics that usually come up on your show. And that is about practice. It's always interesting to hear the musicians you're interviewing and their own struggles with practicing. But somehow I tend to get left with a feeling that: these pianists loves music and they always have been. And so even if they have a bad day or two, they'll always come back to it, with motivation and passion. I on the other hand have had times where I almost feel resentment or at least some kind of anxiety towards music. As if my music and the things I'm working on just seem pointless and I will never reach any of the goals that I've set up for myself. Of course... Part of this has to with the mentality (or more generally the mental health) of the pianist/musician it concerns. But for the last 6 months I've been feeling incredibly unmotivated and on average practiced something like 2-3 times each month. It is as if practicing is stealing energy from me when it is supposed to give energy. Like, what can one do in this situation? How do I get back on track? And more importantly (for me): how do I know if I'm on the right track? Happy to get any input...
Hey, thank you so much for sharing this feeling openly. First of all you are not alone- to this day, sometimes I look at the piano and feel resentment, and then instead of going to play, I do something else. That’s actually something I’ve worked on a lot this last year and it’s almost completely changed. I actually have a course coming soon that will address all of this that I’ve put together with a wonderful mindset coaching expert. A few thoughts for you- ask yourself, why do you even want to play? Are you putting pressure on yourself to play for any specific reason? If you’re not enjoying it, what exactly about it do you not enjoy? Sometimes, we put pressure on ourselves to produce, create, improve. And the only sure way to “fix” it IS to just stop, accept that you aren’t going to be productive, etc. Say “It’s okay if I don’t play, and it’s okay if I don’t want to. There’s nothing wrong with that.” Take the pressure off. Then, instead absorb yourself in what you enjoy, what feels inspiring, forget about piano. Try that. It sounds counterintuitive, but it may give you the mental space you need to allow piano, to receive piano back into your life, rather than forcing it.
@@NoahKellman I cant express how thankful I am for your response. Thank you so much Noah. Interesting question... My answer has always been pretty automatic when it comes to "why I want to play". I want to be able to play jazz piano (solo and with band) and I want to become a better composer. I think in part that the reason I am not enjoying my piano journey right now is that my practice routine has changed so many times since I started and none of the routines that I've been working on seem to make me any better. Or, at least I am unaware of the progess I am making. But also, the routine stops being fun and then when I change focus I somehow feel like all the things I've worked on was for nothing. It feels so good to hear that I'm not alone in this and I will try to not pressure myself and, as you say, instead do stuff that actually inspires me. Then maybe I'll naturally come back to the piano.
Hey Noah, love this interview and you do so much for the music community. I'm just curious, what is the software you use to show the keys being played, I've seen some other piano youtubers use what looks to be a similar program and I'd love to start making videos on harmony myself. Thanks :)
The core is: If you move 7th chords up a major scale diatonically (meaning each note in the chord moves to the next closest note in the major scale) starting with a Maj7, you will get a min7 on the ii, iii, and vi. So, in Kiefer’s example, Amin7 could be the iii of F, the ii of G, or the vi of C. Then, if you move between Amin7 and Bmin7, that’s all GMajor, just moving between ii and iii. Conversely, if you move between Amin7 and BbMaj7, that’s all diatonic to FMajor. BUT, if you do Bmin7, Amin7, BbMaj7, now you’re implying a key change. It’s a very very smooth modulation because of how any two chord combination can be in only one single key, but once you add the third chord you have now modulated. Let me know if that makes sense!
Great discussion and I loved the jam at the end. Does anyone have any go to scales for soloing over the changes in Maiden Voyage? D Dorian and F Mixolydian seem to work quite well
Yeah those are great! I often think of it as C Dorian / F because it’s a Sus 4 sound. You can also try Fsusb9, I.e. Dominant Sus4,b9, the sound of Phrygian
hey Noah, just wanted to say. You are a great listener, which makes you a great interviewer. APPRECIATE your work!
Thank you, appreciate the comment!
Wanted to say the same here!
Kind of a big ask, seeing as he lives far away, but if he's ever in town, I think it would be SUPER cool to see you interview Anomalie.
Love Keifer his sound is so unique you can often tell immediately it’s him playing
Awesome podcast! ❤
@@CostantinoCarraraMusic thanks man hope you’re good! 🙏
Playing the major dim6 scale but applying it at the dominant V rather than the I is new to me. Like when he played a Bb dim6 scale with Bb V-chord leading to Eb I-chord at 47:46 and again at 51:24. At first I thought “wait.. doesnt he mean Eb dim6 scale? The root clearly sounds like Eb - and also there is no dom 7 on the Bb” but then realised it was indeed a Bb dim 6 scale he used. Very cool! To me it is nice as you get the bright lydian sound on the Eb tonic (if you keep the scale on both the dominant and the tonic) and also you get the diminished chord on the Eb tonic as well giving the very familiar Idim-Imaj7 connection where the dim chord within the dim6 scale function more like a passing chord or leading chord rather than a traditional dominant b9 chord leading to the tonic. Also the voice leading is really nice as you get the #9-3 and the #4-5 over the 5-1 or 1-1 bass. I clearly recognize this sound (Io7-IMaj7) from classical, spirituals, gospel, early blues and jazz and the strong similarity to the more traditional use of the dim6 scale where it is used at the root giving you the alteration between M6 (or m6) chord at the root and a dim7 dominant chord starting from the leading tone, but never thought of it this way before :)
love kiefer's metaphors and his way of sharing information. Shows how deep he integrated his craftmanship. thanks noah
That jam at the end was ridiculously good man.
Thanks Josh appreciate that
Body and Soul..great use of subs!
Kiefer is a huge inspiration, thank you for sharing this amazing content!
Sure thing! Had so much fun recording it with him. He shared so much wisdom in this episode.
The collab we have been waiting for 🔥
Absolutely perfect interview, thank you Noah！
My pleasure!
Very interesting way to think about borrowed chords.
Kiefer is one of my favorite keyboardists a great musician and educator, thank you so much for this episode. Coming up next Elijah Fox or Jesus Molina 🙏🏻
💯💯💯
I like voicing when i play my own jazz.
Simply thank you for this video Noah, I loved it, without words. Greetings from Argentina.
@@lukexruggiero2063 my pleasure, so glad you enjoyed it
Loved it! Liked and subscribed
Great interview. I love the moments when jazz pianists change their mind. A hand moves to a region but then, no, that’s not how this story goes. I’ll do *this* instead.
45:18 it's incredible how quickly you were about to figure out the chord he played.
You are amazing man!
able*
Thanks 😅! Appreciate that
Amazing.
Amazing interview as always Noah! Today I got stuck on one of the topics that usually come up on your show. And that is about practice. It's always interesting to hear the musicians you're interviewing and their own struggles with practicing. But somehow I tend to get left with a feeling that: these pianists loves music and they always have been. And so even if they have a bad day or two, they'll always come back to it, with motivation and passion. I on the other hand have had times where I almost feel resentment or at least some kind of anxiety towards music. As if my music and the things I'm working on just seem pointless and I will never reach any of the goals that I've set up for myself. Of course... Part of this has to with the mentality (or more generally the mental health) of the pianist/musician it concerns. But for the last 6 months I've been feeling incredibly unmotivated and on average practiced something like 2-3 times each month. It is as if practicing is stealing energy from me when it is supposed to give energy. Like, what can one do in this situation? How do I get back on track? And more importantly (for me): how do I know if I'm on the right track? Happy to get any input...
Hey, thank you so much for sharing this feeling openly. First of all you are not alone- to this day, sometimes I look at the piano and feel resentment, and then instead of going to play, I do something else. That’s actually something I’ve worked on a lot this last year and it’s almost completely changed. I actually have a course coming soon that will address all of this that I’ve put together with a wonderful mindset coaching expert.
A few thoughts for you- ask yourself, why do you even want to play? Are you putting pressure on yourself to play for any specific reason? If you’re not enjoying it, what exactly about it do you not enjoy?
Sometimes, we put pressure on ourselves to produce, create, improve. And the only sure way to “fix” it IS to just stop, accept that you aren’t going to be productive, etc. Say “It’s okay if I don’t play, and it’s okay if I don’t want to. There’s nothing wrong with that.” Take the pressure off. Then, instead absorb yourself in what you enjoy, what feels inspiring, forget about piano.
Try that. It sounds counterintuitive, but it may give you the mental space you need to allow piano, to receive piano back into your life, rather than forcing it.
@@NoahKellman I cant express how thankful I am for your response. Thank you so much Noah.
Interesting question... My answer has always been pretty automatic when it comes to "why I want to play". I want to be able to play jazz piano (solo and with band) and I want to become a better composer. I think in part that the reason I am not enjoying my piano journey right now is that my practice routine has changed so many times since I started and none of the routines that I've been working on seem to make me any better. Or, at least I am unaware of the progess I am making. But also, the routine stops being fun and then when I change focus I somehow feel like all the things I've worked on was for nothing.
It feels so good to hear that I'm not alone in this and I will try to not pressure myself and, as you say, instead do stuff that actually inspires me. Then maybe I'll naturally come back to the piano.
Awesome podcast. Really appreciated the Ray Bradbury tidbit. Awesome topics and cool harmony breakdown too
Yeah that's great right? That's inspiring me constantly. Thanks for watching
Bless UP
Hey Noah, love this interview and you do so much for the music community. I'm just curious, what is the software you use to show the keys being played, I've seen some other piano youtubers use what looks to be a similar program and I'd love to start making videos on harmony myself. Thanks :)
Hey hey, mainly Chordie App!
Hey Noah, great interview! How can I understand deeply the concept of borrowing chords that kiefer use? Felt little bit lost with the explanation..
The core is: If you move 7th chords up a major scale diatonically (meaning each note in the chord moves to the next closest note in the major scale) starting with a Maj7, you will get a min7 on the ii, iii, and vi. So, in Kiefer’s example, Amin7 could be the iii of F, the ii of G, or the vi of C.
Then, if you move between Amin7 and Bmin7, that’s all GMajor, just moving between ii and iii. Conversely, if you move between Amin7 and BbMaj7, that’s all diatonic to FMajor.
BUT, if you do Bmin7, Amin7, BbMaj7, now you’re implying a key change. It’s a very very smooth modulation because of how any two chord combination can be in only one single key, but once you add the third chord you have now modulated.
Let me know if that makes sense!
@@NoahKellman Yes! thank you!
Great discussion and I loved the jam at the end. Does anyone have any go to scales for soloing over the changes in Maiden Voyage? D Dorian and F Mixolydian seem to work quite well
Yeah those are great! I often think of it as C Dorian / F because it’s a Sus 4 sound. You can also try Fsusb9, I.e. Dominant Sus4,b9, the sound of Phrygian
Man he sounds like modern day Debussy. Wooow
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