You explained years worth of questions, that I thought were unrelated, and tied them all together in this one concept. Most significantly, I discovered what question Im trying to ask. Great lesson and well articulated.
@@OtherMongrel Its been a while, had to watch again. Im an ammeter learning how to play. I think my confusion comes in trying to figure out how to decide when to play a 5th, 7th, or octave along with the base in the left hand.
❤Larry thanks I ll try that. Because you can’t/shouldn’t think about voicing structures when playing by heart and from the heart! 😢 I‘ll try what ‚voice‘, what ‚feeling’ of sound to transmit (to sing… sing with my whole body and soul, like you would want to with your voice too).😊 ❤ Also I learned most when learning by *playing* stuff or exercises my teacher showed me, less by thinking about it. And I TRIED thinking about it! Maybe only to set up my own exercises? Like Jesus Christ tells us: to evaluate ourselves? And find out what is *my* cross to carry? What is really helping, brings me closer to our heavenly father (and not to the next page in the theory book)❤❤❤❤
As someone who's played nearly exclusively closed 7th voicings for over a year, when you said "up to the 9th in the rh, root in the bass, play whatever you don't in rh" i instantly understood, and simultaneously couldn't believe how simple it was.
I’m 68. Took piano lessons as a kid. Picked up rock in high school and even aspired to jazz at the time. Loved Blood sweat & tears and a lot of the jazz that was around then but never really learned it well. I would listen to Oscar Peterson and wonder how a human being could play like that. Keith Emerson too. Anyway did play in rock and rock & roll bands even in clubs in the 70s & 80s. Gave it all up for a career as a mechanic. But I still practice and noodle around at home Have a few friends who would like to jam but I find it frustrating that even my limited ability exceeds theirs. Got on this channel by chance. I watch Adam and think when I retire and have more time I can try to learn some of this material. But if I had one tenth of his ability I’d be happy. I feel practically a beginner seeing the amount of knowledge out there
I have nowhere near the level of understanding required to grasp this subject matter, but you explained it all so well that I could still follow every word. You're clearly a great teacher.
Señor Adam Maness, yo antes pensaba que para mover las voces interiores de los acordes habia que hacer un curso para brujos, pero gracias a su sencillez, claridad y filantropía al transmitir su conocimiento tan generosamente, ahora veo las cosas más claras, y aunque parezca exagerado las veo más fáciles. Para mí, usted es un apóstol de la música. Muchas gracias. Estoy suscrito a este canal y mis likes no faltan nunca. Dios lo bendiga en unión de su familia.
Brother, I’ve been playing piano for 25 years… mostly blues, pop, and rock styles. I play a little bit of jazz, here and there. Within 2 videos of yours, I’ve learned more about jazz than I have in all of my years of playing! You break everything down so perfectly… very, very easy to understand… so clear, and concise! Thanks for everything you do!!!
I'm a jazz guitarist looking to venture into piano, and I feel like this idea has opened up a wide new realm of possibilities for me in terms of voicings and movement. Kept feeling like I was getting stuck in rootless voicings in the right hand or alternating between open and closed voicings. Thank you for this video!
New sub! Pianist of 40 years and still learning. I've been upping my piano improvisation game for the last decade and am very happy I found your channel. PDF downloaded for incorporation into laters' practice. Thanks 🙏
this is so frickin valuable even for other instruments. I play bass and thinking about playing with roots/dropping other notes from the chord. I am impressed by anyone who can think like this on the fly to be doing both the voicing changes in the right hand and what to pick up in the left hand. I am just sitting here trying to think how I could only do the left hand stuff but on bass. Love this stuff so so so much.
It's very nice to accidently stomp on a tutorial that focusses on that exact phrase of the tune I'm trying to learn rn. It feels even more effective after trying to work around the tune on myself first by listening and noodling around and then to watch this. I'm like "ahh that's the sound I'm hearing and couldn't figure it out" and I'm more familiar with the problems and issues that are dealt with. Guess finding and watching this video will have a refreshing impact on my learning process. Been stuck for a long while now. It feels good to make one small step in the right direction
Interesting how the contrary motion began life in Gregorian plain chant - love the clarity of your video - and that all this colour has its roots - literally in those exploring sound 500 years ago or more! This is counter point writ large - with joyous energy! Thanks for a great video.
I have to be way more selective on my voicings, as a Guitar player. But I want to say, you have taught me more about the language of Music than anybody I ever learnt from in Higher Education. My knowledge on chords, modal interchange and chord voicings have shot to the moon. All thanks to YOU 🙏
This will sound trite but it isn't I promise. The guitar's limitations are what make it great! Hear me out. Ok the guitar isn't the most powerful or the fullest of instruments. BUT!...it has the greatest range...of expression. Bend slide chord melody double stops vibrato tremolo volume effects whammy-bar taping hammer ons tone control attack percussive-hits sustain pull offs palm muting. How is this a limitation? Well, you have to make decisions. No one can do it all. Every single note you have a choice of how to play the note. No two ways are exactly the same. Never mind the fact that the guitar forces you to use creative voicing for extended chords. And therein lies the character of the guitar.
@@insidejazzguitar8112 Oh my. I didn't see the account I was responding to. Anyway...I hope some frustrated guitarist somewhere reads my rant and gets inspired!
Brilliant lesson, only recently wrapped my head around block chords and drop 2, the Barry Harris 6th diminished lesson sorted me out. Beautifully explained.
Been playing guitars for 46 years but have about a cumulative two months of piano playing experience. This video is so informative and exciting I can’t wait to have a go!
There are essentially 6 ways to voice a 4-note chord. These 3 happen to be the ones most easily played with one hand, though of course the other hand can pick up one of the notes if it makes sense. Using a C6 with a on top, let's call the top note A 1, the G 2, the E 3 and the C 4, just counting the tones down from the top. So close voicing is 1234. Drop 2 then is 1342, and drop 3 is 1243. But the other 3 are drop 2+4 (1324) drop 2 and 3 (1423) and the fully spread voicing (1432) where all notes are just within an octave of each other. Since the melody is on the top always, we have 3 choices for the second voice, then 2 for the third, and one for the fourth, so there are 3*2*1 = 6 total. Just thought I'd share that.
I know these chords very well, but's pretty interesting how a pianist use them, specially when your descriptions are so accurate. I can clearly get the idea and had a wider approach to them. Thank you for the tutorial!
What an amazing delicious lesson. I really loved the counter melody that was created just by playing the mixture of closed, drop2 and drop3. Wow! Thank you so much 😊
I'm so glad that your video came up in my feed. You want to know something? I've always wondered how the masters achieved those lush full sounds. To be sure I'd watched videos before on drop voicings. I think the difference here is that you actually took a standard and broke it down. This has had a profound impact on me. The probability is very high that the next time I practice that I will be watching this video while I practice. I can hear just about everything that you're doing. And since I can hear it, I know that I can replicate it. My point is that when I've played chords yeah sure I know the intricacies of the harmony but I've not really comprehended the impact of chordal quality. As a consequence when I played a chord progression it's been technically accurate but stylistically and intuitively flat and thin. I think that your demonstration seals the deal for me. And the next time that I practice I'll want to devote some time to these techniques. Thank you very much.
Very informative lesson but i would rather see whole scale chords and good ways to implement them rather than examples of old tunes because i think its a better way to progress Jazz , going over these old examples gets a bit boring for me but showing whole chord scales and you coming up with your own examples is very interesting and fresh. Thanks for taking the time to share your heard earned knowledge, its one thing i love about true jazz musicians. David Bahar Edinburgh Scotland.
These videos are really fantastic and easy to understand. I've been playing for years but avoided theory like the plague, now I feel like I've found the cheat code to catch back up. Thank you!
Bro that was an Awesome video!... I'm a djembe' player and I could relate to it all. We as musicians must learn to use these rudiments and understand the tried and true basics which will lay the ground work for us to create our own, unique melodies that are hopefully pleasing and recognizable to crowds. As I say "I don't play, this is just practice for the next time and that will also be practice for the time ad infinitum!"
Adam, you are a St. Louis treasure I’m so glad I get to come out and hear you every now and then. I just discovered this video and although I am a guitarist I can put these concepts to work.
I've been reharmonizing, What A Friend ( We Have In Jesus ) with some degree of success. The drop voicings just might be the key to totally pulling it off. I'll be sure to download the pdf. Thanks again
Welcome me to your channel because this video made me subscribe instantly. I particularly liked how Drop2 and Drop3 automatically create bass lines for the piece. This is a very powerful tool you taught us.
I've been Playing for decades albeit not that well - and your channel is probably one of the best in terms of explaining jazz concepts clearly. Well done guys. Amazing job.
Now that was really helpful to me. I’m primarily a guitarist, but as a solo artist (or accompanist in a duo) I’m always looking for ways to make my arrangements more pianistic. Thank you!
The PDF is missing a natural sign for the Bmin6/dim chords in all of the voicing types. Sounds WAY better and would be consistent with what you played on the keys. Thanks for the great lesson.
Wow, I've been playing all my life and just graduated uni with a degree in jazz piano. Though i never really liked my solo style because im either playing rootless voicings (sounds empty) or im hitting roots and then chords with my left hand, which just ends up always being a repetitive stride-piano sound. I also never really understood the value of drop 2 voicings. I just though it was an alternative way to make chords sound more "open". But the texture and sophistication you showed that can come from drop 2/3 voicings really gave me a lightbulb moment. Time to head to the shed...
5:28 so simple to say "6th, diminished, 6th, diminished...." but it took me a LOT of studying to finally understand the BHarris idea. Very elegant and simple, once it locks in. As simple as '6th, diminished..."
Mate - your explanation is brilliant. I'd love to have all those choices at my fingertips and then be intuitive enough to be able to use them on the hoof. Wonderful.
This really helped tie things together. It was a good thing to hane previously done many sessions of drills and inversions. Knowing how the chords feel on the hands and knowing it's a dim in between passing toned of the diatonic melody. I think that's what I understand. Will be testing it on other pieces with melodies that work with scalar motion. Neat O. Kinda took the ugh out of 4 notes at the same time on a black page knowing the mechanics behind it a little more
It breaks my heart as I sit here as a 79 year old man. I got to grade 6 music and never saw any of this. I was given the classical music training. and although I love Handles and Greegs and Mozart's, my real love was this exploration of music. I have to get a keyboard. I wonder what I can cut out of my budget to get the money together. Thanks.
Fan-damn-tastic! Thank you so much. NB: drop three -- last note in measure two left hand, one time through, you play Ab (notation repeats F#). I like the Ab :-)
Subscribed! Great Teaching Method! As Arnie said, I'll be beck! I don't read music. I've tried numerous times, but as soon as I'd hear where it's going, I'd leave the sheet behind, and it just never worked for me. But I understand what you're saying, and how to do it. Been playing since 1958, and like you said, there is ALWAYS something to explore and learn. Making Music is definitely a gift from God! Thank You.
Hmm, just thinking about this a bit more. My sister and I have often sung harmony together, by osmosis. Meaning, we just know what the other will do and can always seem to move along in logical ways. We have used it a lot on worship teams. But when we sing with one of our other sisters (who mind you is equally musically talented), we almost always ask them to sing the melody because it’s just not as fun or easy to harmonize. When you began talking about mixing closed, drop-2 and drop-3 voicings, I think I began to understand what’s going on. Cat and I tend to stick to one of the voicings as we follow the melody singer, where Ana might switch it up from chord to chord. It makes it harder for other singers to predict where the other voices are heading, though it’s not entirely wrong. If written out, all people could figure out working harmonies, it’s just a little more time consuming. Your video helped me realize this a bit more.
Excellent video, thanks for sharing! Really helped me understand the principles behind drop voicing that I've been perplexed by in one of my jazz theory classes.
Jesus!!! That very first profession before we even talk about sugar chords... Is powerful as heck! It's dark, it's emotive, it's moody, it leaves me wanting more! Shame that the video is absolutely not about that 🤣
If you play inversions you will notice that just roots in the bass can sound plain, although some notes in bass don’t sound good either. Many things sounds good with a root and 5th or with octaves in the bass. It almost becomes second nature to atleast play the octaves or try some other notes in the bass. Learning songs and playing around you will notice counter Melodies that as musician you hear in your head and notice how they play out on the keyboard going opposite directions, stuff you’ve heard but you realize now what you were thinking why the melodies can overlap going different directions on keys and that what’s what was you were hearing in your head. That’s why inversions are so boring sometimes but good to play through. But you broke it down quite well. I already knew this information but you explained it well and not unnecessarily verbose or obtuse. Surprised how many people hadn’t heard of this in the comments.
Fantastic video! Really useful! Noticed you missed out the natural before the Ds when it raises from Db in bar 2. Nonetheless a small notational thing which didn’t detract at all from the super good explanation you give here! More content like this please! Love it 😊
You are without a doubt one one of the best teachers Ive ever seen on YT and I am a guitar player.
Guitar player here too 🥰
@@jojobeanz2981 me too
Guitar player here as well... That was spot on! Very informative
@@75maccus same
very cool
You explained years worth of questions, that I thought were unrelated, and tied them all together in this one concept. Most significantly, I discovered what question Im trying to ask. Great lesson and well articulated.
Which is?
which is?
@@OtherMongrel Its been a while, had to watch again. Im an ammeter learning how to play. I think my confusion comes in trying to figure out how to decide when to play a 5th, 7th, or octave along with the base in the left hand.
Think expression, that's what separates
you from the rest, EXPRESSION !💯🏌️✅
❤Larry thanks I ll try that. Because you can’t/shouldn’t think about voicing structures when playing by heart and from the heart! 😢
I‘ll try what ‚voice‘, what ‚feeling’ of sound to transmit (to sing… sing with my whole body and soul, like you would want to with your voice too).😊
❤
Also I learned most when learning by *playing* stuff or exercises my teacher showed me, less by thinking about it.
And I TRIED thinking about it! Maybe only to set up my own exercises? Like Jesus Christ tells us: to evaluate ourselves? And find out what is *my* cross to carry? What is really helping, brings me closer to our heavenly father (and not to the next page in the theory book)❤❤❤❤
As someone who's played nearly exclusively closed 7th voicings for over a year, when you said "up to the 9th in the rh, root in the bass, play whatever you don't in rh" i instantly understood, and simultaneously couldn't believe how simple it was.
I totally agree!!!
I’m 68. Took piano lessons as a kid. Picked up rock in high school and even aspired to jazz at the time. Loved Blood sweat & tears and a lot of the jazz that was around then but never really learned it well. I would listen to Oscar Peterson and wonder how a human being could play like that. Keith Emerson too. Anyway did play in rock and rock & roll bands even in clubs in the 70s & 80s. Gave it all up for a career as a mechanic. But I still practice and noodle around at home Have a few friends who would like to jam but I find it frustrating that even my limited ability exceeds theirs.
Got on this channel by chance. I watch Adam and think when I retire and have more time I can try to learn some of this material. But if I had one tenth of his ability I’d be happy. I feel practically a beginner seeing the amount of knowledge out there
I have nowhere near the level of understanding required to grasp this subject matter, but you explained it all so well that I could still follow every word. You're clearly a great teacher.
Great! Great! Great! Explained it slowly, repeat it, demonstrated it. Made it simple to see . Bravo!
Señor Adam Maness, yo antes pensaba que para mover las voces interiores de los acordes habia que hacer un curso para brujos, pero gracias a su sencillez, claridad y filantropía al transmitir su conocimiento tan generosamente, ahora veo las cosas más claras, y aunque parezca exagerado las veo más fáciles.
Para mí, usted es un apóstol de la música. Muchas gracias. Estoy suscrito a este canal y mis likes no faltan nunca.
Dios lo bendiga en unión de su familia.
Brother, I’ve been playing piano for 25 years… mostly blues, pop, and rock styles. I play a little bit of jazz, here and there.
Within 2 videos of yours, I’ve learned more about jazz than I have in all of my years of playing! You break everything down so perfectly… very, very easy to understand… so clear, and concise! Thanks for everything you do!!!
I agree completely. great channel.
I'm picking up what you're putting down.
I'm a jazz guitarist looking to venture into piano, and I feel like this idea has opened up a wide new realm of possibilities for me in terms of voicings and movement. Kept feeling like I was getting stuck in rootless voicings in the right hand or alternating between open and closed voicings. Thank you for this video!
Check out Larry Carlton's voicings.
You can use all of these voicings on guitar too, my uncle loves using them and they sound great
Joe Pass is the closest you can get for transitioning into non-rootless voice leading piano voicings.
13:45 - you must believe in spring (bill Evans) - so beautiful !!
New sub! Pianist of 40 years and still learning. I've been upping my piano improvisation game for the last decade and am very happy I found your channel. PDF downloaded for incorporation into laters' practice. Thanks 🙏
Right there with you, Ed. New sub today, and forty years in as well. This is like a cooking show today - new recipe possibilities! 👍
this is so frickin valuable even for other instruments. I play bass and thinking about playing with roots/dropping other notes from the chord. I am impressed by anyone who can think like this on the fly to be doing both the voicing changes in the right hand and what to pick up in the left hand. I am just sitting here trying to think how I could only do the left hand stuff but on bass. Love this stuff so so so much.
Love how you explain the material, very structural and crystal clear!
Paul Mason’s Jazz thanks teaching these truly great sounds by making this harmony available to us.
jazz bgt lu ta
@@jichojic hahaha subscribe nih gue kelasnya 😂
Been playing professionally for 20 years, this was mind blowing. Instant subscribe. Thank you!!
It's very nice to accidently stomp on a tutorial that focusses on that exact phrase of the tune I'm trying to learn rn. It feels even more effective after trying to work around the tune on myself first by listening and noodling around and then to watch this. I'm like "ahh that's the sound I'm hearing and couldn't figure it out" and I'm more familiar with the problems and issues that are dealt with.
Guess finding and watching this video will have a refreshing impact on my learning process. Been stuck for a long while now. It feels good to make one small step in the right direction
This is the video I have wanted to see for 30 years
Adam McManus is a terrific teacher, breaks it down for mugs like me beautifully. Getting so much out of these lessons.
The Vince Guaraldi version of Green Dolphin Street is worth a listen, thanks for the lesson!
Interesting how the contrary motion began life in Gregorian plain chant - love the clarity of your video - and that all this colour has its roots - literally in those exploring sound 500 years ago or more! This is counter point writ large - with joyous energy! Thanks for a great video.
I have to be way more selective on my voicings, as a Guitar player. But I want to say, you have taught me more about the language of Music than anybody I ever learnt from in Higher Education. My knowledge on chords, modal interchange and chord voicings have shot to the moon. All thanks to YOU 🙏
Wonderful lesson. I’m having a guitarist’s envy of piano. Explanations are perfectly clear and lovingly delivered.
Ha! I get that all the time! Guitar is great but, uh, piano chords are so full and lush!
This will sound trite but it isn't I promise. The guitar's limitations are what make it great! Hear me out. Ok the guitar isn't the most powerful or the fullest of instruments. BUT!...it has the greatest range...of expression. Bend slide chord melody double stops vibrato tremolo volume effects whammy-bar taping hammer ons tone control attack percussive-hits sustain pull offs palm muting. How is this a limitation? Well, you have to make decisions. No one can do it all. Every single note you have a choice of how to play the note. No two ways are exactly the same. Never mind the fact that the guitar forces you to use creative voicing for extended chords. And therein lies the character of the guitar.
@@thestagerocks Agreed!
@@insidejazzguitar8112 Oh my. I didn't see the account I was responding to. Anyway...I hope some frustrated guitarist somewhere reads my rant and gets inspired!
Funny! I’m a pianist envious of guitarists
Now apply this exact example to guitar. Very interesting. 4 note close voicing quite challenging on an instrument that is tuned in fourths :)
Brilliant lesson, only recently wrapped my head around block chords and drop 2, the Barry Harris 6th diminished lesson sorted me out. Beautifully explained.
You remind me why my degrees are in Music Theory! Delightfully informative. You're a natural on camera.
When he said that's when being a nerd pays off, I really felt that.
Can you help meee??? 😢
@@DanielGonzalezC me tooo lol
Yep. Good on camera.❤
Been playing guitars for 46 years but have about a cumulative two months of piano playing experience. This video is so informative and exciting I can’t wait to have a go!
music professors- the most beautiful people in the world. angels, no wings necessary.
Great stuff. Love the kb, notation, podcast 3-cam setup. Very clearly presented. Nicely done.
This man is wearing two collar shirts. He must know things...
Layering textures works in jazz AND fashion!
This whole drop 2 thing has always been as clear as mud. NOW I understand. It sounds simple when you explain it.
The best lesson on chords I’ve seen
There are essentially 6 ways to voice a 4-note chord. These 3 happen to be the ones most easily played with one hand, though of course the other hand can pick up one of the notes if it makes sense. Using a C6 with a on top, let's call the top note A 1, the G 2, the E 3 and the C 4, just counting the tones down from the top. So close voicing is 1234. Drop 2 then is 1342, and drop 3 is 1243. But the other 3 are drop 2+4 (1324) drop 2 and 3 (1423) and the fully spread voicing (1432) where all notes are just within an octave of each other. Since the melody is on the top always, we have 3 choices for the second voice, then 2 for the third, and one for the fourth, so there are 3*2*1 = 6 total.
Just thought I'd share that.
I know these chords very well, but's pretty interesting how a pianist use them, specially when your descriptions are so accurate. I can clearly get the idea and had a wider approach to them. Thank you for the tutorial!
I love the Drop 3 sound. I personally don’t hear many people talking about that voicing concept!
I was actually thing the same thing deyquan
It's because you can't invert drop 3 the same way you can invert drop 2
What an amazing delicious lesson. I really loved the counter melody that was created just by playing the mixture of closed, drop2 and drop3. Wow!
Thank you so much 😊
I'm so glad that your video came up in my feed. You want to know something? I've always wondered how the masters achieved those lush full sounds. To be sure I'd watched videos before on drop voicings. I think the difference here is that you actually took a standard and broke it down. This has had a profound impact on me. The probability is very high that the next time I practice that I will be watching this video while I practice. I can hear just about everything that you're doing. And since I can hear it, I know that I can replicate it. My point is that when I've played chords yeah sure I know the intricacies of the harmony but I've not really comprehended the impact of chordal quality. As a consequence when I played a chord progression it's been technically accurate but stylistically and intuitively flat and thin. I think that your demonstration seals the deal for me. And the next time that I practice I'll want to devote some time to these techniques. Thank you very much.
0:11 reminds me of the end theme from "Mr. Rogers Neighborhood" -
Lovely, calming, reflective!
❤❤❤
Your videos are great. I'm a pianist who knows next to nothing about jazz, this was informative and really interesting.
Very informative lesson but i would rather see whole scale chords and good ways to implement them rather than examples of old tunes because i think its a better way to progress Jazz , going over these old examples gets a bit boring for me but showing whole chord scales and you coming up with your own examples is very interesting and fresh. Thanks for taking the time to share your heard earned knowledge, its one thing i love about true jazz musicians. David Bahar Edinburgh Scotland.
What a great explanation! That helped open my receptivity to jazz voicings a lot!
Great playing, content, and presentation! Thanks so much!
These videos are really fantastic and easy to understand. I've been playing for years but avoided theory like the plague, now I feel like I've found the cheat code to catch back up. Thank you!
Bro that was an Awesome video!... I'm a djembe' player and I could relate to it all. We as musicians must learn to use these rudiments and understand the tried and true basics which will lay the ground work for us to create our
own, unique melodies that are hopefully pleasing and recognizable to crowds. As I say "I don't play, this is just practice for the next time and that will also be practice for the time ad infinitum!"
Adam, you are a St. Louis treasure I’m so glad I get to come out and hear you every now and then. I just discovered this video and although I am a guitarist I can put these concepts to work.
Adam is such a good teacher
4:21 crunch at the top... I love the way you worded it!
This video is a gem.
Ok,let´s do it in Eb.On guitar,I do in C . All the best,Adam!!!! Thanks a lot! I love you all!!!
Incredible playing and explanation (while playing!)!
Amazing. I it's been a long tine since I don't learn something new. You delivered years of knowledge in a few minutes.
A Natural teacher, great stuff, wonderful presentation !!
This chap is terrific. Thanks from England.
You are a great teacher and a very sensitive musician. Thank you🙏
yes, excellent(ly patient) explanation! voice leading is where all the fun is at!! imagine going through this with a bunch of singing buddies!!!
I've been reharmonizing, What A Friend ( We Have In Jesus ) with some degree of success. The drop voicings just might be the key to totally pulling it off. I'll be sure to download the pdf. Thanks again
Thanks master. Very clear and full of knowledge.
This one of the best jazz piano lessons I have seen to date. Thanks for sharing
I'm in over my head and it's fun. Really like those chords. I'll need to start practicing.
Stick with it and start with major scales and simple triads
Most important lesson here, have good voice leading in all the voices.
damn , i quickly realised this is way above my level but i just couldn't stop watching as this unfolds. Great explanation!
your pedagogy is amzing, thank so much!
Best jazz piano tutorials on RUclips
Welcome me to your channel because this video made me subscribe instantly. I particularly liked how Drop2 and Drop3 automatically create bass lines for the piece. This is a very powerful tool you taught us.
Another great video. I love these Barry Harris inspired techniques!
Thanks Adam...Again and again...Thanks.!!Come to Brazil, and give us some master classes, please!
I've been Playing for decades albeit not that well - and your channel is probably one of the best in terms of explaining jazz concepts clearly. Well done guys. Amazing job.
qq 17:11 17:11 17:11
Now that was really helpful to me. I’m primarily a guitarist, but as a solo artist (or accompanist in a duo) I’m always looking for ways to make my arrangements more pianistic. Thank you!
The PDF is missing a natural sign for the Bmin6/dim chords in all of the voicing types. Sounds WAY better and would be consistent with what you played on the keys. Thanks for the great lesson.
Wow, I've been playing all my life and just graduated uni with a degree in jazz piano. Though i never really liked my solo style because im either playing rootless voicings (sounds empty) or im hitting roots and then chords with my left hand, which just ends up always being a repetitive stride-piano sound. I also never really understood the value of drop 2 voicings. I just though it was an alternative way to make chords sound more "open". But the texture and sophistication you showed that can come from drop 2/3 voicings really gave me a lightbulb moment. Time to head to the shed...
think expression and try different inversions to get sign you want,but most of all expression that's what separates you from the
rest.
I love his voicings. The tutorial is amazing but I‘m listening to it just for the sound
Easily one of the best channels on RUclips.
5:28 so simple to say "6th, diminished, 6th, diminished...." but it took me a LOT of studying to finally understand the BHarris idea. Very elegant and simple, once it locks in. As simple as '6th, diminished..."
Honestly, I didn’t know that I already knew the scale because I learned it as “Whole-half diminished scale”. Way easier formula.
@@jairusdixon1758 it actually corresponds to a major (or minor) bebop scale, not to either of the diminished scales.
I believe ya, that’s just how I received the information, lol.
This reminds of me of why I love jazz so much
Mate - your explanation is brilliant. I'd love to have all those choices at my fingertips and then be intuitive enough to be able to use them on the hoof. Wonderful.
Wow, thank you very much! Now I begin to understand George Shearing :)
Your videos are like a breath of fresh air to my drowning piano playing
This really helped tie things together. It was a good thing to hane previously done many sessions of drills and inversions. Knowing how the chords feel on the hands and knowing it's a dim in between passing toned of the diatonic melody. I think that's what I understand. Will be testing it on other pieces with melodies that work with scalar motion. Neat O. Kinda took the ugh out of 4 notes at the same time on a black page knowing the mechanics behind it a little more
This was better than all the books and lessons I had on this topic. Thanks
It breaks my heart as I sit here as a 79 year old man. I got to grade 6 music and never saw any of this. I was given the classical music training. and although I love Handles and Greegs and Mozart's, my real love was this exploration of music. I have to get a keyboard. I wonder what I can cut out of my budget to get the money together. Thanks.
Fan-damn-tastic! Thank you so much. NB: drop three -- last note in measure two left hand, one time through, you play Ab (notation repeats F#). I like the Ab :-)
0:22 Gosh, that background music is so good
Another guitarist saying "great lesson." You're a terrific teacher. Wish you taught guitar.
One word: SPLENDIFEROUS!
Subscribed! Great Teaching Method! As Arnie said, I'll be beck! I don't read music. I've tried numerous times, but as soon as I'd hear where it's going, I'd leave the sheet behind, and it just never worked for me. But I understand what you're saying, and how to do it. Been playing since 1958, and like you said, there is ALWAYS something to explore and learn. Making Music is definitely a gift from God! Thank You.
Hmm, just thinking about this a bit more. My sister and I have often sung harmony together, by osmosis. Meaning, we just know what the other will do and can always seem to move along in logical ways. We have used it a lot on worship teams. But when we sing with one of our other sisters (who mind you is equally musically talented), we almost always ask them to sing the melody because it’s just not as fun or easy to harmonize. When you began talking about mixing closed, drop-2 and drop-3 voicings, I think I began to understand what’s going on. Cat and I tend to stick to one of the voicings as we follow the melody singer, where Ana might switch it up from chord to chord. It makes it harder for other singers to predict where the other voices are heading, though it’s not entirely wrong. If written out, all people could figure out working harmonies, it’s just a little more time consuming. Your video helped me realize this a bit more.
You are such an amazing teacher.
Excellent video, thanks for sharing! Really helped me understand the principles behind drop voicing that I've been perplexed by in one of my jazz theory classes.
Jesus!!! That very first profession before we even talk about sugar chords... Is powerful as heck!
It's dark, it's emotive, it's moody, it leaves me wanting more!
Shame that the video is absolutely not about that 🤣
Stunning! I really enjoyed your chord comentry.
found you on tiktok now i'm here - i'm learning so much i love these videos; plan to join your channel soon thank you!!
I love how you drop-3 on the altered chord. That sounds nice.
What a joy to watch.. Great teacher
omg.. never have i heard such smooth joy
If you play inversions you will notice that just roots in the bass can sound plain, although some notes in bass don’t sound good either. Many things sounds good with a root and 5th or with octaves in the bass. It almost becomes second nature to atleast play the octaves or try some other notes in the bass.
Learning songs and playing around you will notice counter Melodies that as musician you hear in your head and notice how they play out on the keyboard going opposite directions, stuff you’ve heard but you realize now what you were thinking why the melodies can overlap going different directions on keys and that what’s what was you were hearing in your head. That’s why inversions are so boring sometimes but good to play through. But you broke it down quite well. I already knew this information but you explained it well and not unnecessarily verbose or obtuse. Surprised how many people hadn’t heard of this in the comments.
Fantastic video! Really useful! Noticed you missed out the natural before the Ds when it raises from Db in bar 2. Nonetheless a small notational thing which didn’t detract at all from the super good explanation you give here! More content like this please! Love it 😊
Thanks - watching this makes me feel so happy 🎶🥰🎶
Thank you so very much. You break it down to such simplicity. This means so much to me and so many others im sure. Bless you brother
Thanks.. really useful stuff! Haven't yet tried the drop 3, only drop 2 & mixing them all up very interesting. Have to try this out!
now THAT'S some well structured teaching! Thanks
I'm a guitarist but I feel that videos like this make me a better musician.