The Secret to Sus Chords with Peter Martin
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- Опубликовано: 29 сен 2024
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In this jazz piano tutorial, Peter Martin goes through the secret to playing the ever so difficult sus chords.
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Beautiful playing!
this guy is pretty sus
Found the amogus comment
sussy af
This is really great and I hear so many pianists doing this. I get the concept but to need practice the direction changing, note order stuff.... anyone have exercises in this regard?... PS I subscribed to the jazz course.. many thanks Peter!
I'm always a loss for ideas when playing over the V7sus in a minor key (which resolves to V7, like in "I Will Survive").
This so beautiful. A great invitation to explore the tone garden.
Men, you are beyond Genius! im student at open studio and giving my best!
Lol thnx for the “help”
That solo tho oh my goodness
Whole video pretty sus
I will use it on my beats! Thanks
I've been wanting to hear stronger Jazz melodies used on hip hop and breakbeats.
@@RayfieldA check out my beat "mask", it is jazz and brazilian influenced!
This sounds so good but I don't really understand what's going on.
I'm not gonna pretend I do but it sounds like over any sus chord, he's saying you can play the major triads of the root and a whole step below the root: in Dsus7 (looks like D, G, B, C) he plays D major and C major; in Fsus he plays F major and Eb; etc. In each one he alternates, so he kinda spells out the D major and the C major and then a D major inversion and then a C major inversion, all in a descending pattern of sequences. That seems like the basics of it, and then he says "mix them all up"
@@johnm5321 Thanks. When you break it down like that, it's easier to grasp but as a guitar player in a different genre, sometimes the concepts go right over my head.
@@holysmokes4493 Yeah, guitarists think about this stuff differently. I think keyboard gives a certain view of the world, and guitar another. I mean, everything he is telling us still applies, but...
Sup 😏
Triad pairs are so darn useful!!
Poderia facilmente ser a abertura de algum programa da TV Cultura nos anos 90
Чисто скушал бургер и, проходя мимо ф-но, вспомнил, шо надо шото записать на канал
Slick use of triads reminds me of Hadrien Feraud. I believe he and Jocko did this on bass. Good stuff sir. Thank you for the video and you awesome playing through triads on keys. 👍🏽
This is interesting, because I was always taught to avoid the major 3rd on a sus chord, but you are going right at it with the D and C triads, and it sounds great. Almost like a sus and a resolution all in the same chord. Kinda like sideslipping in a way...
You can listen at the master himself : ruclips.net/video/p3QrW_RrVEw/видео.html
At 3:52, just after the intro, he plays the beginning of his tune and at 3:56 he plays the major 3rd, and insist on it.
So good !
If the MINOR THIRD is NOT present, then basically SUS chords are more correctly thought of as DOMINANT 7th SUS. This means that obviously the MAJOR third can be emphasized along with the suspended 4th. Once the MINOR third is present, it MUST be thought of and treated as obviously a MINOR seventh WITH the suspended 4th also present.
I've heard stated you can play the 3rd as long as it's higher than the 4th. Just what I've heard, try it out and see what you think
@@johnm5321 what third are you referring to exactly, the major or minor third?
@@vbassone I was talking about the major 3rd specifically and he was mostly playing that too, but over the Db-9 he actually played a Dbsus chord and improvised with a Db minor triad and B MAJOR triad (again, major triad a whole step down). So he played a minor triad (so, a minor third) over the root chord but a major triad a half step down, because the major third (Eb) is already in the chord (looking at the sheet music, I see a Db-9), and a minor triad would've been very dissonant as a b9 of the Db-9 chord.
Thank you Master Peter Martin !! You are such an inspiration but it’s hard to follow the rhythm of your posts !! I need to work so quick !😅😅
Let’s talk about SUS baby!
1:14 lo key sounds like Joey Calderazzo
Go ahead, Peter. Thanks man
Great stuff. Thank you Peter.
Dang
WHHAAAAT?? youre so dope
wena! gracias
THANK YOU!
Dig!
🙏🏽👌🏽🔥🔥🔥🔥
fire
👍
!!
so you use the notes of C and D over Csus like a Chordscale? did i get this right?
No i think it's C and Bb over a Csus
C and D major triads over D7sus4, Eb and F major triads over F7sus4, Db and Eb major triads over Eb7sus4, E and F# major triads over C#m7. best, andy
Actually, Peter Martin propose C# minor and B Major triads over C#m7 (even if he said Dbm but it's the same as C#m).
hi, sorry if i've been somewhat careless on Peter's proposal on the C#m7 part. My reason for picking E and F# major is this: i view the bridge of Maiden Voyage as basically the same as the 'A' sections - just raised by half-step.
As you could also spell dominant7sus chords minor7 chords with a bass note a 5th lower, the 'A' sections would be:
Am7/D (=D7sus4) - Cm7/F (F7sus4)
bridge:
Bbm7/Eb (=Eb7sus4) - C#m7/F# (=F#7sus4)
only that Herbie decided to skip the /F# on the C#m7 for variation, but there's still the same relationship between the 2 chords of each section. best, andy