30 years ago I had to stop playing bebop on the guitar. It was such an amazing feeling playing jazz. I studied 2 and a half years on a jazz institute in Munich. Well, a lot is buried. 30 years is a long time. Of course there were a Lot of, not directly faults but in my todaŷs opinion not “round “ moments. Difficult to explain… Now my wife arranged it during 4 years that I get enough buoyancy to start over. God bless my wife. With an exact feeling for what’s wrong in my ideas. I decided for myself to polish a raw gem? ( the music itself not my talent :-) So I found this site and was impressed about the feeling of your playing. Since two weeks now I started to dig out all the old knowledge, the old feeling and the old ideas and try to give them this kind of expression wich satisfy my soul. With your ideas and famous teaching ability I started over now to play Guitar again. Bought a rally good feeling Guitar and adapt your ideas to kick out the “wrong” moments in my playing. Starting from scratch, more or less, with an huge knowledge. And now the ability, I also became older and more wise, to kick off the unnecessary ballast. And you, Oliver, are one of my starter in a new (old) living with Jazz. Adapting your art of playing on my new jazz mood is more than satisfying. Thank you Oliver for being one of my first teacher in helping me to organise my old knowledge in an more satisfying and interesting way. Thank you so much. There are so much more I want to tell you but it’s a forum… So I’ll send you an Email if you are interested in. Cheers Oliver, Oliver H.
Thanks a lot for your wonderful and very encouraging message. I'm so glad that some of my videos can help you back on the track. You're always welcome to send me an email. You can find my email address in the about section of this channel. Cheers from Oliver
Dear Oliver, at 8:02, you say it's pure coincidence, it doesn't mean anything... But I tried in other tonalities, it works ! When I play 2-5-1 in Cmin for example, my right hand plays the C triad, the Eb triad and the G triad (with the corresponding left handgrip of course)... It's an easy method to play 2-5-1 in minor in every tonality ! You're a wonderful teacher, I started to play the piano one year ago, I do your exercices every week, I'm so grateful. English is not my native language so I can't tell what I have in my mind. Thank you so much !
As a fellow manual worker (but with no redeeming features whatsoever), and barely able to identify the business end of a piano, I can only marvel at the gentle but relentless ease with which you enlighten us with these lessons. Being able, purely for my own enjoyment, to recreate these beautiful interludes and even create my own input has never before seemed to be anywhere near within my grasp. I now approach the Autumn of my life with a childlike anticipation. Oliver, you are blessed with many gifts and you have a truly generous spirit. Please keep off the bus until the virus has passed.
Sums my feelings up exactly! At 74 I too am approaching Autumn, but never too late to attempt to play and deeply enjoy these atmospheric interludes, your comment is now 2 years old ,so hopefully you now know the business end of your piano, and are still enjoying this magic!!!!!!
Oliver, you are responsible for returning me in piano studying after 20 years. I adore and listen jazz about 30 years. Your videos are totally educational. Thank you so much!!!
You are the best tutoring instructor in Jazz and Blues piano music here dear Sir Oliver Phren. You made it very simple and slow for me to understand. How very kind of you. I am so blessed watching and following your video instructions. Amazing teacher.
@@FunWithHubris Clearly 1:52 for me :) The Am7 does half the job in a C improv..Actually, I discovered the power of the second inversion today.. gives you a "free 9th" :)
Perhaps we all know the theory on the melodic minor scale but it is difficult to put it into practice to improvise with creativity. This tutorial has set in motion my creative mind. I found other combinations of triad or melodic patterns useful for improvisation. Thank you so much Oliver!
This teacher has such an effective reaching technique. I'm following along on my keyboard. So easily creating new tunes from these excercises. Thank you.
Just found your channel, just started with a keyboard so I thought this lesson would be way too advanced for me, but after a couple of hours I can repeat most of this, albeit slowly and with errors, but this is gold for me and is exactly what I would wish to learn and progress with. Sometimes the Universe does work in our favour! Thankyou so much!
I realy don't know how I should thank you. But I can just say : thank you. Your lessons are bringing on the rigth way to improve myself. May I encourage you to keep on sharing with us your great knowledge .
Love it. C lydian dominant sounds beautiful over this progression and then it occurred to me it's just a mode of G melodic minor. Thank you so much for making these videos available. There's always an aha moment
Hey Oliver....nice job... just working with melodic minor scales and it´s a huge tool to practice... thanks 4 everything.... i sometimes i get emotionaly for the way you explain stuff just for fun, for those people who never get chance to study music can now achieve great results
Yes that's a good idea. In this Music video (a song, not teaching) I play "in" and "out" the A-Dorian scale using the minor pentatonic hand grip: ruclips.net/video/ZlYew7NxA6A/видео.html First there is a short theme (and in the middle). But never mind the theme - it's when I play the A-Dorian solo you can see how I play "in" and "out" the A-Dorian scale. When playing inside the text above the keys is blue. When playing outside the text is red. Maybe it could be fun for you to watch ;) Best regards Oliver
@@NewJazz yeees that is what I would like! Playing with a bass line in A or whatever, maintening that bass there, and play outside when you want, where to go,... What options work better, that is the jazz I like!! The Herbie funk records style. It would be great!! Amazing that performance!!
Hi Oliver! Very nice video and very good technique that you give us, once again. Everything is always done with care and quality. Thank you a thousand times for everything!
Thank you Oliver, this is really great. Especially this coincidence on 7:34, where we play the pattern of the key we are in. I'm glad, that I have already practiced the second Inversions of the major triads in all keys. That makes it much easier for me. Nevertheless, I have to practice (especially with the chords from the last lesson), to get familiar with it. I love you for your videos. Thanks a lot.
I have been working on a lot of Oliver's lessons and his hand grip method is the best! More or less you play before you really learn what you are playing -- which is fun and sounds great -- but by following along with the PDF, you eventually memorize what you are playing. I have first been working on the left hand chords playlist -- which by the way also works great playing with the RH with some kind of LH bass note progression. I have been having fun with that. The only "problem" with this is that it does not feel like practicing and it's too easy to end up fooling around. I know that is the point to some extent, but I have to force myself to practice these things repetitively like I would practice scales or whatever. With this lesson I don't really understand why G - Bflat -D works with those 2-5-1 chords, but will try to understand as I get into it. I see from Oliver's notes that the scales are "half diminished", "altered" and "ascending melodic minor" scale. I guess those "just work" and don't need to know the "why".
Hi Rick :) I'm so glad you can benefit from some of my lessons :) About the chord-scale connection; well, the main rule is that if a scale contains all the chord notes we have a match. Now on the D7 chord this is not entirely true because we need to alter the fifth to either b5 or #5 to make it fit the altered scale. Have you ever seen this other lesson about scales? ruclips.net/video/Vq2xt2D3e3E/видео.html Cheers from Oliver
Hi Oliver, yes thanks for that. I have seen the scales video before but it was a while ago. so I will watch it again. I see there are many families to learn! I think my issue is that there are so many scales that would have same shared notes as a chord that it's confusing as to which scale to pick. ^ UPDATE: see bottom of this comment, it is all explained in that scales lesson, as you said. For example, for the D7 chord (D major scale flat 7th, Mixolydian?) the relative minor, Bm, would perhaps be what I would think of first as a scale with shared notes. But there are probably many other scales, altered in some way, that have the same notes as the D7 chord/scale. For example all 7 modes of D major scale have the same notes, and so would work with a D major chord. The D7 scale doesn't have a Bb in it (nor the F): D, E, F♯, G, A, B, C ...so at first I think "why a Bb scale?" It must be because of the way the other notes add color somehow. They certainly sound good! D7 chord: D, F♯, A, C (1-3-5-7) D7 scale: D, E, F♯, G, A, B, C B♭scale: B♭, C, D, E♭, F, G, A I think this may be why the hand grip method is so good. Just don't worry about this stuff now as the hand grip method "just works". I really haven't started on RH improvisation yet, but I think it will be like the chords lessons, where the hand grip method gets me going, and then over time I will memorize what chords/scales I am playing, and perhaps why it works. I imagine when soloing your mind does not think "I am playing this chord in the LH... ...quick what scale can my RH play?" ...your RH "just knows" from memory having played it many times before? Anyhow, it is all interesting. I do want to both play, and understand the theory, so hope to get there eventually. By the way, I have come to think that theory is more important for Jazz than for Classical. For me, Classical was just “play the notes on the page”, so that in a way you didn’t need to know any theory, you just had to read. But with Jazz, you sort of need to know theory to know what works with what, as you improvise (unless you simply memorize it all without knowing the theory). Thank you again for all you do, your lessons are the best! I think you were/are on vacation so hope you are having a good one! UPDATE: Ah OK, in that ALL ABOUT MUSICAL SCALES - A COMPLETE GUIDE!!! lesson here you say "So now we know what scales we can use when improvising over different types of 7th chords." ruclips.net/video/Vq2xt2D3e3E/видео.html ...and there is the PDF to go with that: newjazz.dk/Compendiums/scales_of_harmonies.pdf OK I need to study that. ;-) But man, it felt like a lot to learn the 12 major and natural minor scales, so learning all these may take some time. I think for now I will stick with learning the hand grips and not worry about why it works yet. ;-)
@@rickhood Well, I don't think you should memorize all scales. I haven't, then I just get confused, haha. Just recognize the system of families and then pick out a few favorites - look up other specific scales whenever needed or if you want to expand your tone material sometime in the future. So don't worry, keep it simple and just play ;) Cheers from Oliver (And by the way - a scale can contain notes that are not represented in the chord - it's the other way around that is more spicy...)
Wonderful lesson, can you make a guide to all your lesson? What i mean is you can show us the order to all the lesson, which one should we watch first to learn jazz. Thanks in advance.
Hi and thanks a lot :) Each lesson can be seen individually. But anyway I made this suggested order: ruclips.net/p/PLd8gNAxPUcJw1DmmWooCWx_jgKzgBfYGp Best regards from Oliver
There are always ways to complicate chord analysis. Am7b5 functions like a Dsus9b/A because it resolves into a Dalt chord (or rather Ab7,11#/D), in other words, it's a Dsus7 to D7 progression. Am7b5 is also the 2nd inversion of the F9 dominant chord which is related to the D7 because they are from the same family of tritones, namely the Cdim chord. Whereas F9 would naturally resolve into Bbmaj7, the D7b chord resolves into its relative minor Gm which is really just Bbmaj7/G.
Muchísimas gracias, sus clases son muy didácticas y estoy súper agradecido porque estoy aprendiendo mucho, muchisisimas gracias por ayudarnos, que Dios lo colme de Bendiciones.
Hi and thanks :) In this video we play through the entire 2-5-1 progression in "Major" using only a single pentatonic hand grip: ruclips.net/video/cvfN8tG1RwU/видео.html
When it comes to Major keys, Oliver showed us allready, that you can use the minor-pentatonics on it. There are three positions, where you can place them: On the 3rd scale degree (when you are in C Major you play E minor pentatonic), or on the 6th scale degree (A minor pentatonic, when you are in C major), or on the 7th scale degree (B minor pentatonic, when you are in C Major). The last one gives you a lydian feel.
I have been studying a lot of your lessons and I discover that on the progresion above, on the IIb5, I can start a pentatonic row on 4th, on the V, start a pentatonic row on the 6th minor and on the I start a pentatonic row on the 5th. I don't know what I'm doing but it sounds fat. lol
30 years ago I had to stop playing bebop on the guitar. It was such an amazing feeling playing jazz. I studied 2 and a half years on a jazz institute in Munich. Well, a lot is buried. 30 years is a long time.
Of course there were a Lot of, not directly faults but in my todaŷs opinion not “round “ moments. Difficult to explain… Now my wife arranged it during 4 years that I get enough buoyancy to start over. God bless my wife.
With an exact feeling for what’s wrong in my ideas. I decided for myself to polish a raw gem? ( the music itself not my talent :-)
So I found this site and was impressed about the feeling of your playing. Since two weeks now I started to dig out all the old knowledge, the old feeling and the old ideas and try to give them this kind of expression wich satisfy my soul. With your ideas and famous teaching ability I started over now to play Guitar again.
Bought a rally good feeling Guitar and adapt your ideas to kick out the “wrong” moments in my playing. Starting from scratch, more or less, with an huge knowledge. And now the ability, I also became older and more wise, to kick off the unnecessary ballast. And you, Oliver, are one of my starter in a new (old) living with Jazz. Adapting your art of playing on my new jazz mood is more than satisfying.
Thank you Oliver for being one of my first teacher in helping me to organise my old knowledge in an more satisfying and interesting way.
Thank you so much. There are so much more I want to tell you but it’s a forum… So I’ll send you an Email if you are interested in.
Cheers Oliver, Oliver H.
Thanks a lot for your wonderful and very encouraging message. I'm so glad that some of my videos can help you back on the track. You're always welcome to send me an email. You can find my email address in the about section of this channel. Cheers from Oliver
Dear Oliver, at 8:02, you say it's pure coincidence, it doesn't mean anything... But I tried in other tonalities, it works ! When I play 2-5-1 in Cmin for example, my right hand plays the C triad, the Eb triad and the G triad (with the corresponding left handgrip of course)... It's an easy method to play 2-5-1 in minor in every tonality !
You're a wonderful teacher, I started to play the piano one year ago, I do your exercices every week, I'm so grateful.
English is not my native language so I can't tell what I have in my mind. Thank you so much !
GREAT!!! Warm regards from Oliver
Oliver you say your Lessons are free. I say your Lessons are "GOLD". May you" continue on" with many blessings.
As a fellow manual worker (but with no redeeming features whatsoever), and barely able to identify the business end of a piano, I can only marvel at the gentle but relentless ease with which you enlighten us with these lessons. Being able, purely for my own enjoyment, to recreate these beautiful interludes and even create my own input has never before seemed to be anywhere near within my grasp.
I now approach the Autumn of my life with a childlike anticipation.
Oliver, you are blessed with many gifts and you have a truly generous spirit. Please keep off the bus until the virus has passed.
Sums my feelings up exactly! At 74 I too am approaching Autumn, but never too late to attempt to play and deeply enjoy these atmospheric interludes, your comment is now 2 years old ,so hopefully you now know the business end of your piano, and are still enjoying this magic!!!!!!
This is the best video style to have instant results anyone has ever seen. Take a break Oliver you have earned it….as a long time listener!!
Oliver, you are responsible for returning me in piano studying after 20 years. I adore and listen jazz about 30 years. Your videos are totally educational. Thank you so much!!!
You are the best tutoring instructor in Jazz and Blues piano music here dear Sir Oliver Phren. You made it very simple and slow for me to understand. How very kind of you. I am so blessed watching and following your video instructions. Amazing teacher.
Sounds like Köln concert. Your videos are simply the best. Have searched high and low for such clear explanations. You're a fantastic teacher
When he adds the F motifs around 9:45, definitely sounds Jarrett-y.
@@FunWithHubris Clearly 1:52 for me :) The Am7 does half the job in a C improv..Actually, I discovered the power of the second inversion today.. gives you a "free 9th" :)
Wow, what a great teacher. Oliver really makes learning jazz interesting and fun. I jammed out with this concept for hours tonight.
You are a very good teacher. You make the jazz improvisation so simple and easy to comprehend.
Perhaps we all know the theory on the melodic minor scale but it is difficult to put it into practice to improvise with creativity. This tutorial has set in motion my creative mind. I found other combinations of triad or melodic patterns useful for improvisation. Thank you so much Oliver!
This teacher has such an effective reaching technique. I'm following along on my keyboard. So easily creating new tunes from these excercises. Thank you.
WONDERFUL MUSIC..THANKS FOR SHARING THIS BEAUTIFUL MELLOW MUSIC DEAR SIR OLIVER PHREN. GOD BLESS YOU MORE AND MORE EACH DAY.
Just found your channel, just started with a keyboard so I thought this lesson would be way too advanced for me, but after a couple of hours I can repeat most of this, albeit slowly and with errors, but this is gold for me and is exactly what I would wish to learn and progress with. Sometimes the Universe does work in our favour! Thankyou so much!
Oliver GOD bless you man, you are doing so much for the music community, wish bless been poured on you for your great music lessons!
I liked your guideline.very simple to understand
This is really helpful.
Thank you for the lesson, the way you explain, and also the subtitle, sir!
I love the open sound, it's a really fun exercise . Thank you!
Yeah just been rewatching and the first part is where it really helps
Terrific learning material - the whole set of videos. Thank you very much.
Thank you! I've been reading the Mark levine jazz book and your video helps me connect the dots and practice much! Very progressive and helpful.
I realy don't know how I should thank you. But I can just say : thank you. Your lessons are bringing on the rigth way to improve myself. May I encourage you to keep on sharing with us your great knowledge .
Such a great guide to the complex music structures! 👌
MAN, YOU TEACH SOMETHING REALLY USEFULL AND EASY THANK YOU!!!!!!!!!!
Dear Oliver! You are the Best Musik Teacher! Thank you so much! Liebe Grüße Stefan 🌞 From Berlin
Love it. C lydian dominant sounds beautiful over this progression and then it occurred to me it's just a mode of G melodic minor. Thank you so much for making these videos available. There's always an aha moment
Hey Oliver....nice job... just working with melodic minor scales and it´s a huge tool to practice... thanks 4 everything.... i sometimes i get emotionaly for the way you explain stuff just for fun, for those people who never get chance to study music can now achieve great results
You're a wizard. This is pure magic
you're an excellent teacher! thanks for this lesson!
Oliver, you are a genius!!!!! Thank you so much for sharing your knowledge with us.
New age jazz at its finest
you make such simple ideas can be musical.. inspiring .
I like this approach to playing.
Great video as always. Currently working on beautiful love, so I this is helpful stuff. Going to go and mess around with it now. Thank you!
gracias broooo eres tremendo, espectacular , gracias gracias por compartir me ha servido mucho
Thank you very much for playing directions. You are my teacher now God bless you too
Thanks a lot for the turkish subtitel. Your Lessons are now much more understandable for me.
I have learned minor 2-5-1s a few times over the years but this is nice and clear I think I may remember it this time thanks so much
Very good. The scales were not new to me but I've learned another method to play them; cool video... improves my improv skills. Thank's a lot! 👍
Thanks, and yes, the grips "break up" the scales into nice patterns ;)
A true teacher.
You are teaching me perfectlyy!! Thank youu!! GBU
this is mind blowing to me. such a fascinating new perspective from which to explore a minor 2-5-1 that i had never considered before.
You‘re the best teacher Oliver👌
Fantastic as always
. Thank you.
Amazing!! Teacher!! oliver!! Thanks!!
Love this channel it’s very inspirational keep up the great work
Great!! Another great vision for this!! Someday I would like to see a inside outside playing tutorial. Thanks for your musical vision!!
Yes that's a good idea. In this Music video (a song, not teaching) I play "in" and "out" the A-Dorian scale using the minor pentatonic hand grip: ruclips.net/video/ZlYew7NxA6A/видео.html
First there is a short theme (and in the middle). But never mind the theme - it's when I play the A-Dorian solo you can see how I play "in" and "out" the A-Dorian scale. When playing inside the text above the keys is blue. When playing outside the text is red. Maybe it could be fun for you to watch ;) Best regards Oliver
@@NewJazz yeees that is what I would like! Playing with a bass line in A or whatever, maintening that bass there, and play outside when you want, where to go,... What options work better, that is the jazz I like!! The Herbie funk records style. It would be great!! Amazing that performance!!
Ok, I still have some videos to be finished - but later on, I will remember - I hope you have patience and can wait - we will get to it ;)
Fuck. I have been waiting for this for 40 years... Awesome.
Tank you so much Oliver..
Thank you Oliver. Starting simple then at the end quite complex music. Genius. :)
You are the best! And I almost had´em all! Thank you and Much regards!
Hi Oliver! Very nice video and very good technique that you give us, once again. Everything is always done with care and quality. Thank you a thousand times for everything!
Fantastic teacher!
beautiful, thank you Oliver!
Minor major 13th chord is just beautiful.
Great lesson, thank you very much!!!👍🎼
Deeee best piano lessons hands down!!!!!!
Great lesson, i will give a try on my guitar. Thanks,
Helpful as always.
Sir, I fold my hands, bow my head and pay respect to you.
Always illuminating. Thanks Oliver.
Wonderful, thank you for this amazing insightful lesson :)
I love you teaching so much may God bless
great, as always!!
I can maybe hear this in some sort of Twin Peaks type of mystery film! Another wonder from the digits of the Master Teacher! Thank you my freind!
That's Great, Oliver!!!!. Thanks a lot!.
I enjoyed the lesson a lot, even if I knew the theory, it is so well played and calm.
Thank you Oliver, this is really great. Especially this coincidence on 7:34, where we play the pattern of the key we are in.
I'm glad, that I have already practiced the second Inversions of the major triads in all keys. That makes it much easier for me.
Nevertheless, I have to practice (especially with the chords from the last lesson), to get familiar with it.
I love you for your videos. Thanks a lot.
Hi and thank you very much. And yes, the coincidence at 7:34 is a fantastic mnemonic rule to locate the triads ;) Warm regards Oliver
Great just simple like you explain Is clear AND got the feeling for play inmidiatly
Tout simplement ! c'est tellement clair et terriblement efficace. Merci beaucoup
EXCELLENT!!!! Master
Many Thanks for this genial exlanations ... Wonderful !
Impresionante tu didáctica Oliver ! Súper práctico muchas gracias !! Disfruto.
Great lesson. Thanks!
Thank you i apperecite your lesson, Oliver! Good lucke :)
Suas lições são maravilhosas!!!!
Thank you Oliver!
you stay a GREAT TEACHER thanks
It is interesting how with the harmonic minor harmony the 2 and 5 chords are a part of the same tonic scale and for this there are 3 changing scales.
I have been working on a lot of Oliver's lessons and his hand grip method is the best!
More or less you play before you really learn what you are playing -- which is fun and sounds great -- but by following along with the PDF, you eventually memorize what you are playing.
I have first been working on the left hand chords playlist -- which by the way also works great playing with the RH with some kind of LH bass note progression. I have been having fun with that.
The only "problem" with this is that it does not feel like practicing and it's too easy to end up fooling around. I know that is the point to some extent, but I have to force myself to practice these things repetitively like I would practice scales or whatever.
With this lesson I don't really understand why G - Bflat -D works with those 2-5-1 chords, but will try to understand as I get into it. I see from Oliver's notes that the scales are "half diminished", "altered" and "ascending melodic minor" scale. I guess those "just work" and don't need to know the "why".
Hi Rick :) I'm so glad you can benefit from some of my lessons :)
About the chord-scale connection; well, the main rule is that if a scale contains all the chord notes we have a match. Now on the D7 chord this is not entirely true because we need to alter the fifth to either b5 or #5 to make it fit the altered scale.
Have you ever seen this other lesson about scales? ruclips.net/video/Vq2xt2D3e3E/видео.html
Cheers from Oliver
Hi Oliver, yes thanks for that. I have seen the scales video before but it was a while ago. so I will watch it again. I see there are many families to learn!
I think my issue is that there are so many scales that would have same shared notes as a chord that it's confusing as to which scale to pick.
^ UPDATE: see bottom of this comment, it is all explained in that scales lesson, as you said.
For example, for the D7 chord (D major scale flat 7th, Mixolydian?) the relative minor, Bm, would perhaps be what I would think of first as a scale with shared notes. But there are probably many other scales, altered in some way, that have the same notes as the D7 chord/scale. For example all 7 modes of D major scale have the same notes, and so would work with a D major chord.
The D7 scale doesn't have a Bb in it (nor the F): D, E, F♯, G, A, B, C ...so at first I think "why a Bb scale?" It must be because of the way the other notes add color somehow. They certainly sound good!
D7 chord: D, F♯, A, C (1-3-5-7)
D7 scale: D, E, F♯, G, A, B, C
B♭scale: B♭, C, D, E♭, F, G, A
I think this may be why the hand grip method is so good. Just don't worry about this stuff now as the hand grip method "just works".
I really haven't started on RH improvisation yet, but I think it will be like the chords lessons, where the hand grip method gets me going, and then over time I will memorize what chords/scales I am playing, and perhaps why it works.
I imagine when soloing your mind does not think "I am playing this chord in the LH... ...quick what scale can my RH play?" ...your RH "just knows" from memory having played it many times before?
Anyhow, it is all interesting. I do want to both play, and understand the theory, so hope to get there eventually.
By the way, I have come to think that theory is more important for Jazz than for Classical. For me, Classical was just “play the notes on the page”, so that in a way you didn’t need to know any theory, you just had to read. But with Jazz, you sort of need to know theory to know what works with what, as you improvise (unless you simply memorize it all without knowing the theory).
Thank you again for all you do, your lessons are the best! I think you were/are on vacation so hope you are having a good one!
UPDATE: Ah OK, in that ALL ABOUT MUSICAL SCALES - A COMPLETE GUIDE!!! lesson here you say "So now we know what scales we can use when improvising over different types of 7th chords."
ruclips.net/video/Vq2xt2D3e3E/видео.html
...and there is the PDF to go with that: newjazz.dk/Compendiums/scales_of_harmonies.pdf
OK I need to study that. ;-)
But man, it felt like a lot to learn the 12 major and natural minor scales, so learning all these may take some time. I think for now I will stick with learning the hand grips and not worry about why it works yet. ;-)
@@rickhood Well, I don't think you should memorize all scales. I haven't, then I just get confused, haha. Just recognize the system of families and then pick out a few favorites - look up other specific scales whenever needed or if you want to expand your tone material sometime in the future. So don't worry, keep it simple and just play ;) Cheers from Oliver
(And by the way - a scale can contain notes that are not represented in the chord - it's the other way around that is more spicy...)
Very nice Oliver!
This is great I love it! I want more of it...
Wonderful lesson, can you make a guide to all your lesson? What i mean is you can show us the order to all the lesson, which one should we watch first to learn jazz. Thanks in advance.
Hi and thanks a lot :) Each lesson can be seen individually. But anyway I made this suggested order: ruclips.net/p/PLd8gNAxPUcJw1DmmWooCWx_jgKzgBfYGp
Best regards from Oliver
great lesson .. thenks
There are always ways to complicate chord analysis. Am7b5 functions like a Dsus9b/A because it resolves into a Dalt chord (or rather Ab7,11#/D), in other words, it's a Dsus7 to D7 progression. Am7b5 is also the 2nd inversion of the F9 dominant chord which is related to the D7 because they are from the same family of tritones, namely the Cdim chord. Whereas F9 would naturally resolve into Bbmaj7, the D7b chord resolves into its relative minor Gm which is really just Bbmaj7/G.
thank you for the lessons !!
Muchísimas gracias, sus clases son muy didácticas y estoy súper agradecido porque estoy aprendiendo mucho, muchisisimas gracias por ayudarnos, que Dios lo colme de Bendiciones.
Super helpful!
Beautiful! Difficult to see the motifs. Cannot tell which keys are being pressed. Thank you for sharing your knowledge.
Thanks and thanks for your input. I'll try to make some videos with phrases and licks in totally slow motion in the future... Cheers from Oliver
thanks a lot! very good job, Master!
Atmospheric for sure. Nice approachable ideas, thank you. What about for a major key or for dominant seventh chord patterns? Any thoughts?
Hi and thanks :) In this video we play through the entire 2-5-1 progression in "Major" using only a single pentatonic hand grip: ruclips.net/video/cvfN8tG1RwU/видео.html
When it comes to Major keys, Oliver showed us allready, that you can use the minor-pentatonics on it. There are three positions,
where you can place them: On the 3rd scale degree (when you are in C Major you play E minor pentatonic),
or on the 6th scale degree (A minor pentatonic, when you are in C major),
or on the 7th scale degree (B minor pentatonic, when you are in C Major). The last one gives you a lydian feel.
Oops, I haven't seen, that Oliver has already replied. Sorry.
No problem, you just gave a much more detailed answer ;) Thanks ;)
7:34 this three notes... actually form the whole beautiful things............................ damn if only i knew this formula earlier
exelente , muchas gracias por compartir sus conocimientos
Fantastic your job... how you pass your knowledge. Thanks for sharing. Best Regards Master.
I have been studying a lot of your lessons and I discover that on the progresion above, on the IIb5, I can start a pentatonic row on 4th, on the V, start a pentatonic row on the 6th minor and on the I start a pentatonic row on the 5th. I don't know what I'm doing but it sounds fat. lol
Thank you so much!
Thank you!
I just subscribed to ur channel. Man ur awesome. I will continue to support u and have other fo as well. Thx for ur lessons
Thank you so much :) :) :)
Genius!
Nice