The process of you harmonising melodies and explaining your choices is super useful and interesting to watch! thanks a lot , Jeremy , no one can explain things as clearly as you do
Thanks for the video Jeremy! It's very informative! I have two questions, the first one is about the ryhthm, can we swing the dotted eighth with a sixteen pattern just like two eighth notes? The second one is about the articulation, if we put a tenuto on the second one of the two eighth notes, how would you articulate the triplets? Many thanks!
This is very helpful ! Thank you so much, Jeremy! Looking forward to next tutorial! One little question: for the half diminished chord isn’t it more common to put the root and b5 in the left hand instead of the b3 and b7 ? Thank you one more time!
You know, that must be in a book somewhere because I’ve encountered lots of pianists who ask that. It’s possible to put those in the left hand, but I don’t like the way it affects the voice-leading. I generally keep the 3 and 7th in the range around/below middle C.
Hey Jeremy. Thank you for this series. Funny... I know all of this stuff, but it is still helpful for me to see your process with it in terms of what order to work on these things. I am wondering if there are exercises or ways to practice these things to get them in your hands detailed in your books? I have some I ideas, but that is something that would be really helpful for me. Thanks again.
Yes, there are specific assignments in he books, but I can save you money and tell you that most of the assignments are - 1) master these voicings forms for major and minor ii-V-I progressions and 2) write out and practice each voicing type on 5-7 tunes.
Love your video,Jeremy.But I have a question: you've said many times in your other videos and your books that we should not play 'doubles' as far as possible, but I've heard many masters play "doubles" on their playing so frequently. So how do you think about this? Which situation I can double or not?
In general, I think it’s one of those things teachers say because a lot of students unconsciously play way too many doublings. So “no doublings” is an easy rule to put in place. But, yes, limited doublings are definitely possible as you’re thickening up voicings, particularly beyond 5 notes.
Hi! Why not include the b9 as a colour tone in the half diminished chord? We include it in the dominant 7b9 chord. So the minor 9th interval is present here.
If you play the two chords, I think you’ll hear the difference. The presence of the major third (which forms a consonant interval, a 6th, with the flat nine) softens the dissonance of the interval whereas the minor third forms a dissonant interval, a 7th, with the flat nine.
The ghost of Barry Harris is throwing shade at you for even discussing the “standard ii V I” as ending on the maj7 instead of ending on the 69. “Who said all the I chords had to be maj7 chords?”
Great thing to think about related to voicings-process vs. formula. Thx,!Jeremy.
Great video as usual! Thanks!
The process of you harmonising melodies and explaining your choices is super useful and interesting to watch! thanks a lot , Jeremy , no one can explain things as clearly as you do
🔥🌟🌹🌟🔥😊 digging the process(above my head right now,but no worries,Mate). Thank you, Jeremy.
A really useful tutorial, Jeremy. A great process. Many thanks.
My pleasure, Stuart! Thanks for watching and commenting!
Thanks for videos! You often say that we should avoid stacking thirds.can you please explain why?
Great, as usual
Thank you, Meserret, I hope you and your family are well!
Thanks for the video Jeremy!
It's very informative! I have two questions, the first one is about the ryhthm, can we swing the dotted eighth with a sixteen pattern just like two eighth notes?
The second one is about the articulation, if we put a tenuto on the second one of the two eighth notes, how would you articulate the triplets? Many thanks!
This is very helpful ! Thank you so much, Jeremy! Looking forward to next tutorial!
One little question: for the half diminished chord isn’t it more common to put the root and b5 in the left hand instead of the b3 and b7 ?
Thank you one more time!
You know, that must be in a book somewhere because I’ve encountered lots of pianists who ask that. It’s possible to put those in the left hand, but I don’t like the way it affects the voice-leading. I generally keep the 3 and 7th in the range around/below middle C.
I'm in the process of absorbing this.
You can do it!!!
😅😅 love you forever
Aw; thank you, Mai!!!
Hey Jeremy. Thank you for this series. Funny... I know all of this stuff, but it is still helpful for me to see your process with it in terms of what order to work on these things. I am wondering if there are exercises or ways to practice these things to get them in your hands detailed in your books? I have some I ideas, but that is something that would be really helpful for me. Thanks again.
Yes, there are specific assignments in he books, but I can save you money and tell you that most of the assignments are - 1) master these voicings forms for major and minor ii-V-I progressions and 2) write out and practice each voicing type on 5-7 tunes.
😅😅 thanks a lot
Many thanks for watching and commenting!
Love your video,Jeremy.But I have a question: you've said many times in your other videos and your books that we should not play 'doubles' as far as possible, but I've heard many masters play "doubles" on their playing so frequently. So how do you think about this? Which situation I can double or not?
In general, I think it’s one of those things teachers say because a lot of students unconsciously play way too many doublings. So “no doublings” is an easy rule to put in place. But, yes, limited doublings are definitely possible as you’re thickening up voicings, particularly beyond 5 notes.
@@JeremySiskind Thanks for your reply and look forward to your next video.
Hi! Why not include the b9 as a colour tone in the half diminished chord? We include it in the dominant 7b9 chord. So the minor 9th interval is present here.
If you play the two chords, I think you’ll hear the difference. The presence of the major third (which forms a consonant interval, a 6th, with the flat nine) softens the dissonance of the interval whereas the minor third forms a dissonant interval, a 7th, with the flat nine.
That’s a really thoughtful analysis. The natural 9th on a half diminished chord is also just a lovely melodic minor sound.
The ghost of Barry Harris is throwing shade at you for even discussing the “standard ii V I” as ending on the maj7 instead of ending on the 69. “Who said all the I chords had to be maj7 chords?”
“Makes,” “Made,” same “Diff’rence.” Original was “Cuando vuelva a tu lado." Titles are like voicings,evolving through process.
Sure, let’s go with that! 🤣