Colin! I just sent you a book. :) It's been really helpful for me. As you play more modern harmony too, you can divide it into different sections with different key centers and try to use the same scale, even if there are some small conflicts, over some different chords.
😮As a beginner, I always thought you HAD to switch scales along with chord-changes! Yes, I also would like to see from you more eye-opening videos like this! Thank you always!
10 месяцев назад+2
More Keith Jarrett inspired content please Jeremy!!!
So refreshing .. tonally satisfying .. !! Great idea !! One never wants to play those ‘poking’ (major) thirds in the 2ndary dominants in this tune again :)..
Thank you. Also, "All of me" has always been one of my favorite jazz standards (especially as performed by Lester Young with Teddy Wilson in 1956, and with Billie Holiday in 1940), and what you do with it in this demonstration is really lovely.
@@JeremySiskind to be honest i think you can do what he does sir.. i hope you do more performances.. some thing that the young generation can relate... but still in this style. do you have perfect pitch sir?
@@JeremySiskind Indeed! I tried it on alone together, it was really fun, had to go through the changes in a new way. And great playing here in the vid:)
A good place to start is "Time After Time" from the Blue Note set (I think it's disc 5). The beginning of his solo is basically C major, especially his second chorus. "I'm Old Fashioned," from the same set features a lot of diatonic soloing. Of course, this is just an exercise - he doesn't play 100% diatonic, but you hear a lot of it towards the beginning of his solos. I hope that helps!
I've been thinking in terms of temporary key signatures within the tune (trying not to think of scales because that implies notes in a certain order). So for me the first five bars of All The Things You Are are in the key of Ab. The next three are in key of C, etc. This (new-to-me) idea of Jeremy's, playing the solo all diatonic, is fascinating. I can hear how it does sound like Keith, melodious, and it's one of the things i love about Keith. So thanks Jeremy for an interesting game to play during practice time! (i imagine there are some tunes that it works less well on - like All the Things maybe - will be interesting to try it on different tunes. Good luck on a blues though :-^)
I like the concept. Can't wait to try it on the intro to Lush Life (just kidding). But seriously.... I LOVE your channel! You cover material for the serious amateur player, and you get straight to the point. Some RUclipsrs have excellent content, but they talk WAY too much. Your content is as good (or better) than any of the many YT channels I have found. Thank you soooooo much!
So it's kind of Keith's way of playing in that country,American gospel style that he is known for,on tunes like Country and Ryder but he is taking that same way of improving and applying it to tunes that have more jazzy chord changes, and then I guess as the tune goes on he starts playing inside the changes a little more, it's cool, but you're right, if you are improving in one scale over those changes, you have to be aware of not laying on some bad notes like that A natural on the E7 or the D natural on the A7. I guess you probably would have a hard time doing this on tunes that really have a lot more changes like Solar, but it could definitely work on Autumn Leaves and By By Black Bird. When you study bebop you automatically think "I have to outline all the changes" but Keith takes a different approach.
What a great advice ! Thanks. What will be your scale choice to apply on a major blues? Like c major blues like c jam blues for example. Thanks for your reply
You should use the C “major” blues scale (C, D, Eb, E, G, A) and the C blues scale (C, Eb, F, F#, G, Bb). Your ear will tell you when to switch on the various chords in the progression
Yes! Another game is to follow the Chords, but stay within an octave. In case of All Of Me e‘ - e‘‘ for example. It could be every note but don‘t use the tonal center for the octave. Benefit, you can‘t use any pianistic tricks, goal, find small melodic ideas or find a big bow.
Awesome! Thanks for the tip! I actually put out a RUclips video called “Improv Game Inspires by Miles Davis” that sounds a little similar to what you’re mentioning here.
Not sure I totally understand your question. But, yeah, if you get good at this (especially knowing which notes to avoid), it is a relatively easy way to play some really melodic phrases.
@@JeremySiskind Exactly! What You played sounded great! Could You give us some more such ideas? Sorry, I used wrong word before. It should be "brilliant"
Wow, that is a really interesting way to think about hearing and getting inside of a tune... Thank you for putting your ideas out there!
Colin! I just sent you a book. :) It's been really helpful for me. As you play more modern harmony too, you can divide it into different sections with different key centers and try to use the same scale, even if there are some small conflicts, over some different chords.
😮As a beginner, I always thought you HAD to switch scales along with chord-changes! Yes, I also would like to see from you more eye-opening videos like this! Thank you always!
More Keith Jarrett inspired content please Jeremy!!!
Noted! I love Keith, so you won't get any objection from me!
@@JeremySiskind You and me both!
Excited!! 🤩
Awesome lesson. Would’ve never thought of this.
Cool! I'm glad it was interesting for you, Julio!
Wow! Really cool stuff Jeremy!
Thanks for subscribing! I hope you have playing around with this idea.
Amazing
Thank you! It’s one of my favorite practice devices!
I found you just few days ago, and that's a great discovery! Thank you by heart, there is a mountain of stuff to steal! ❤️
Yay, I’m glad to be found! Let me know if there ever any specific subject you’d like me to cover for you!
So refreshing .. tonally satisfying .. !! Great idea !! One never wants to play those ‘poking’ (major) thirds in the 2ndary dominants in this tune again :)..
Mind Blown!
It's a fun game! I hope you get to try it!
Thank you. Also, "All of me" has always been one of my favorite jazz standards (especially as performed by Lester Young with Teddy Wilson in 1956, and with Billie Holiday in 1940), and what you do with it in this demonstration is really lovely.
Thank you so much. Ah, I really love both Lester Young and Teddy Wilson. Such incredible musicians!
thank oyu sir! really Love it! Love keith Jarrett's music.
Thanks, EJ! Yep, Keith is one of our great geniuses. “The Melody at Night, With You” is one of my all-time top 10 albums.
@@JeremySiskind to be honest i think you can do what he does sir.. i hope you do more performances.. some thing that the young generation can relate... but still in this style. do you have perfect pitch sir?
Super!
Thanks much, Oscar!
Hi Jeremy very good video! I use this tip with my student since a long time now but I'm glad to see this on RUclips...
Take care
Cool! Great minds think alike, right?
@@JeremySiskind Ahaha yes I guess... 😎
What a great idea! I have noticed this with Keith also, didn't think to develop it like this.
Nice! I love practicing this - it always gets me playing melodies I’m proud of.
@@JeremySiskind Indeed! I tried it on alone together, it was really fun, had to go through the changes in a new way. And great playing here in the vid:)
You've heard that saying "those who can, do, those who can't, teach." Well Jeremy Siskind has utterly destroyed that saying.
Love that - thanks so much, Musterion!
Thank You Sir Jeremy for this...🙏🤗
Glad you like it. Happy practicing!
Really does sound like Keith! Great work here. Subscribed
Thanks a lot, Gabriel! Keith is definitely one of my musical heroes. Sometimes the genius is in keeping it simpler rather than being complicated!
Bravo!
Inspiring as always Jeremy! 👏
Thank you, Stefano! Happy practicing! :)
Great lesson! Would you give a couple of examples where Keith J uses this device. I’m sure I’ve heard it but didn’t realize what he was doing.
A good place to start is "Time After Time" from the Blue Note set (I think it's disc 5). The beginning of his solo is basically C major, especially his second chorus. "I'm Old Fashioned," from the same set features a lot of diatonic soloing. Of course, this is just an exercise - he doesn't play 100% diatonic, but you hear a lot of it towards the beginning of his solos. I hope that helps!
I've been thinking in terms of temporary key signatures within the tune (trying not to think of scales because that implies notes in a certain order). So for me the first five bars of All The Things You Are are in the key of Ab. The next three are in key of C, etc. This (new-to-me) idea of Jeremy's, playing the solo all diatonic, is fascinating. I can hear how it does sound like Keith, melodious, and it's one of the things i love about Keith. So thanks Jeremy for an interesting game to play during practice time! (i imagine there are some tunes that it works less well on - like All the Things maybe - will be interesting to try it on different tunes. Good luck on a blues though :-^)
I like the concept. Can't wait to try it on the intro to Lush Life (just kidding). But seriously.... I LOVE your channel! You cover material for the serious amateur player, and you get straight to the point. Some RUclipsrs have excellent content, but they talk WAY too much. Your content is as good (or better) than any of the many YT channels I have found. Thank you soooooo much!
Thanks, I’m glad you’re digging the channel! It’s fun for me to share some of my favorite ideas. Stay tuned! I’ve got a bunch more ideas coming up. :)
So it's kind of Keith's way of playing in that country,American gospel style that he is known for,on tunes like Country and Ryder but he is taking that same way of improving and applying it to tunes that have more jazzy chord changes, and then I guess as the tune goes on he starts playing inside the changes a little more, it's cool, but you're right, if you are improving in one scale over those changes, you have to be aware of not laying on some bad notes like that A natural on the E7 or the D natural on the A7. I guess you probably would have a hard time doing this on tunes that really have a lot more changes like Solar, but it could definitely work on Autumn Leaves and By By Black Bird. When you study bebop you automatically think "I have to outline all the changes" but Keith takes a different approach.
What a great advice ! Thanks. What will be your scale choice to apply on a major blues? Like c major blues like c jam blues for example. Thanks for your reply
You should use the C “major” blues scale (C, D, Eb, E, G, A) and the C blues scale (C, Eb, F, F#, G, Bb). Your ear will tell you when to switch on the various chords in the progression
Yes! Another game is to follow the Chords, but stay within an octave. In case of All Of Me e‘ - e‘‘ for example. It could be every note but don‘t use the tonal center for the octave. Benefit, you can‘t use any pianistic tricks, goal, find small melodic ideas or find a big bow.
Awesome! Thanks for the tip! I actually put out a RUclips video called “Improv Game Inspires by Miles Davis” that sounds a little similar to what you’re mentioning here.
@@JeremySiskind I eagerly anticipate it.
Oops - I wasn't clear. It exists! ruclips.net/video/hWMFU9Z8BkM/видео.html
It is simple way to genial playing?
Not sure I totally understand your question. But, yeah, if you get good at this (especially knowing which notes to avoid), it is a relatively easy way to play some really melodic phrases.
@@JeremySiskind Exactly! What You played sounded great! Could You give us some more such ideas? Sorry, I used wrong word before. It should be "brilliant"
@@demsi2004 yep - I’m gonna try to keep these videos coming. :)