Finally, someone explains advanced concepts to advanced musicians without wasting time explaining what a scale or chord, or progression is. SUBSCRIBED!
This video is mind-blowing for horn players. It shows the structure of the sounds many of us are looking for. In this respect, a pianist's perspective is far better than any studies for single-note instruments. It sounds great, too! It will take a long long time to absorb and internalize, but it will be worth it. Thank you. I signed up.
loving this tutorial!! ive always wanted to learn upper structures to sort of imitate bill evans's style and your tutorial was simple and organised enough and super easy to understand
Complicated simplified. Yet the harmony is transformed from the simple vanilla to rich, complex chords. Inversely proportional mutation just got seamlessly better 👍Tòns of thanks!
Some nagging questions I've had for (checking watch) 60 years about what makes jazz sounds work were answered by this video. That's an itch that's been waiting to be scratched forever. Resolved: I need to work on all inversions of all major triads.
“infamous” Autumn Leaves? Infamous means disreputable. Great lesson. It’s easy to remember which upper structures to apply: major triads with roots taken from the 9 of the dominant chord you’re voicing plus the one with a root on the flat 13. So, in C7. Take triads with roots on D, F#, A plus the Ab
In the lesson at about 10 minutes in, you demonstrate the Gb13. When I see that written on a sheet of music, how can I know its the thirteenth of Gb and not a G with a flattened thirteen? This same confusion might also apply to other chords notated similarly.
Not a C13b9, the third one….for that to be the case you would need an A natural (13) and a C# (Db-b9). You have an Ab (G#) which is a #5th and a B maj which is a major 7th, as you already have a Bb to make the C a 7th chord, to avoid confusion with the two different B intervals I would call this a ‘slash’ chord C7/E.
Thank you for the excellent tutorial. I think you have staff notation errors for the C13(b9) chord in the first frame around 0:30 and the second frame around 1:00. I see later that sometimes it is spelled with C3 to emphasize the “major triad” and sometimes with Dd for the flat 9. Are both generally used?
Thanks! So I'm reading chega de saudade (No more Blues) from the real book-- the head reads D- D-7/C E7/B E..... Can I use an upper structure chord based on E on the E7/B? Thanks for the input!
Fantastica spiegazione molto più chiara di tante altre presenti nel web; purtroppo non è facile per me seguire dai sottotitoli in italiano ma vorrei tanto chiedere gentilmente se è possibile seguire una lezione come questa relativamente alle upper structures applicabili anche agli accordi maggiori e minori all'interno di un turn around tipo 1 6 2 5 1. Grazie infinite e complimenti.
The G is the Fmaj7sus2 sound and the D is the add6 (chord tones: F-G-A-C-D-E, playable in various inversions) So really you‘re adding harmonic contect to make the Fmaj7 sound fuller. You can implement these suspensions in all tonic chords for example if you’re looking to get a denser sound - or leave them out if you want to have more space for the melody. Hope this helps!
@@lucysunbeam1332 The one chord (I Chord ) can be played as a 6/9 chord, utilizing a G and a D. There are many ways to voice the F chord that go beyond just a major 7th chord.
Excellent video 👍 Question; do you know who invented jazz upper structures, or who was the first to use them? Were they played as early as Duke Ellington or Bud Powell? I seem to recall only first hearing these voicings played by Bill Evans. (Asking for my students who always ask this question). Thanks
this was probably the most useful jazz piano content I've seen so far
Me too.
Yeah, I agree
I agree
I agree
Yeah
Finally, someone explains advanced concepts to advanced musicians without wasting time explaining what a scale or chord, or progression is. SUBSCRIBED!
Guitar player here and this is the best explanation I’ve ever heard of this. Thank you!
if there would be a Jazz tutorial Nobel Prize you would deserve it!
The most focused and transparent explanation of this approach - and very musically
This video is mind-blowing for horn players. It shows the structure of the sounds many of us are looking for. In this respect, a pianist's perspective is far better than any studies for single-note instruments. It sounds great, too! It will take a long long time to absorb and internalize, but it will be worth it. Thank you. I signed up.
loving this tutorial!! ive always wanted to learn upper structures to sort of imitate bill evans's style and your tutorial was simple and organised enough and super easy to understand
This was such a useful lesson. I will watch. Over and over and play along until I can match it up along with the sheet music
Complicated simplified. Yet the harmony is transformed from the simple vanilla to rich, complex chords. Inversely proportional mutation just got seamlessly better 👍Tòns of thanks!
Thanks for this very nice video! Please make more tutorials on chord voicings for common jazz standards!
Insightful and very clear explanation!!! I love it.
This is the most detailed and thorough lesson I have ever come across on RUclips.. Thank you so much!!!!
Its fantastic. and the chart has helped a lot!!!
In fact one of the best tutorials for Jazz Piano Voicings
Thank you so much! Such a clwar and informative explanation! Wish I had such a teacher a couple of decades ago!...
Mind altering information. Truly valuable insights. Thank you.
Best explanation of upper structure triads. Thanks.
amazed by the quality that you give !! this is a reel must have ! thanks so much !
I adore it!! Very useful, and well explained
This is so beyond-words outstanding. Thank you for this.
Misty with upper structure approach is beautiful
Indeed! Try applying these voicings to other jazz standards and you will hear they sound fantastic. Cheers! PianoGroove
Thank you for the video and information you share with us! It's absolutely amazing! Greetings from Peru 🇵🇪 😃 I hope you're keeping well!
Just awesome music........I learned so much.......pure brilliance.
This is a helpful lesson; thanks for the clear explanation, the best I have found on this topic.
Do you have a video discussing chord textures and how to create them?
Very informative! Loved the Upper Structure Chart
Really enjoyed this very clear an concise, thanks
Why can't you have both #9 #11 and b9 b13？
Thank you so much ! I have been struggling with these topics. So well explained with perfect pace for me
I m from a little town from mexico. Very very very good thank so much
Some nagging questions I've had for (checking watch) 60 years about what makes jazz sounds work were answered by this video. That's an itch that's been waiting to be scratched forever. Resolved: I need to work on all inversions of all major triads.
This is a great lesson. Makes so much sense. Thank you
“infamous” Autumn Leaves? Infamous means disreputable. Great lesson. It’s easy to remember which upper structures to apply: major triads with roots taken from the 9 of the dominant chord you’re voicing plus the one with a root on the flat 13.
So, in C7. Take triads with roots on D, F#, A plus the Ab
Very cool sound for this modern world. Thanks.
I would listen to these beautiful lessons and arrangements even If I didn't play piano.
At 1.06 there is an error on pentagramm
The correct notes are on the piano but not on the C13b9
Chiaro, conciso, tecnicamente ineccepibile: chapeau !
loved it, thanks for the simple and clean explanation.
Very nice, you are such a gifted teacher
A good to get away from just using "vanilla chords". Thank you David🎹🎼🎹🎼🎹
Great stuff, very well explained.
Very useful thanks so much
Piano lesson of the year
Hi Hayden....
I very like your lessons. Are Very comprehensive.
Hugs..
Thanks Pedro!
@@PianoGroove I Always see your classes.
There is a small mistake in the written transcription. The C13(b9) should have a Db on top instead of a Cb
And an A natural, not Ab at 1.06
Yeah u gotta fix this man. Tutorial vids need to be reviewed myriad times for perfection. They have to be 100%. Always.
I noticed that mistake, too.
I thought I was going crazy! Not a small mistake
@@Ernie_Centofanti SO DID I!!1 THATS how bright i am lol lol lol LOL1
One of my favorite and excellent YT JAZZ music sites! ❤️
Excellent, but I don´t understand why you play E , A and C# in the 3rd example......it is wrong written? Minute1:06
I think, there is a mistake.
In the lesson at about 10 minutes in, you demonstrate the Gb13. When I see that written on a sheet of music, how can I know its the thirteenth of Gb and not a G with a flattened thirteen? This same confusion might also apply to other chords notated similarly.
Awesome! By the way, I also want to include Jimi Hendrix chord in the UST category.
For example, C7(#9) =E♭/C7
Best video on this topic. Thank you!
Too beautiful for words.........
This is GREAT !!! I’m so thankfull !
☺️
🙏
damn, an actually good online educational resource for jazz. amazing!
Not a C13b9, the third one….for that to be the case you would need an A natural (13) and a C# (Db-b9). You have an Ab (G#) which is a #5th and a B maj which is a major 7th, as you already have a Bb to make the C a 7th chord, to avoid confusion with the two different B intervals I would call this a ‘slash’ chord C7/E.
Amazing video and content - informative and inspiring 💎⭐️😊
Gracias por la enseñanza!! Saludos desde México 🇲🇽
Thank you for the insight of wisdom
Can you help me understand why you used the C mixolydian scale for reference? Is this because it contains the flat 7 of the dominant? Many thanks
Very instructive tutorial. Many thanks
What about upper structures on major7 chords and m7 chords?
Thank you for the excellent tutorial. I think you have staff notation errors for the C13(b9) chord in the first frame around 0:30 and the second frame around 1:00. I see later that sometimes it is spelled with C3 to emphasize the “major triad” and sometimes with Dd for the flat 9. Are both generally used?
Is there another video that goes over how you come up with all those top line melodies around the 2 5 1?
Thanks I just want to is this true even for minor chords
Thanks! So I'm reading chega de saudade (No more Blues) from the real book-- the head reads D- D-7/C E7/B E..... Can I use an upper structure chord based on E on the E7/B? Thanks for the input!
why did u use the myxolydian scale to pick out the upper structure triad?
Hi Chaps, brilliant video, pls do more about applying this info to standards, tho note earlier comment about typos re C13b9
Very nice
Thank you
Wow you are the best!!!! Thaks
If I may ask a question, about when you refer to the scale as the mixolydian mode-in C7.
Isn’t the mixolydian mode of a C Major chord G-G?
Best tutorial ever.. thank you!
that's a fantastic video !! Thanks a lot
The C13b9 is written incorrectly in the notes. Thanks
Thanks for this.. I thought you left RUclips
You are a godsend.
Fantastic! congratulations!
What is the name of the program you use to show the keyboard on the key, with musical notes ?? Thank you! hugs!
Gorgeous
Really awesome, thanks !!
Thank you teacher you have the tutorial in this Chanel I don't find the partiture
Awesome vid👍🏼
Great lesson
Great informative class, but never received an email back with pdf access.
I have learn a lot! Txs
I like your lessons. Do an of your lessons deal with improvisation?
Very useful!! There is a little mistake @1:05 C13(b9) that you play correct.. it is not correct on the score
Thank you so much sir I like your videos
Fantastica spiegazione molto più chiara di tante altre presenti nel web; purtroppo non è facile per me seguire dai sottotitoli in italiano ma vorrei tanto chiedere gentilmente se è possibile seguire una lezione come questa relativamente alle upper structures applicabili anche agli accordi maggiori e minori all'interno di un turn around tipo 1 6 2 5 1. Grazie infinite e complimenti.
Nice tutorial ❤️❤️❤️
you are good sir...thanks
Fantastic great explanation
Hi, great videos. One thing --- the written notes you show for C13b9 do not match what you play.
Is upper structure apply in any other scales beside the mixolydian scale?
Can anyone explain why he’s playing a D and a G in his F Maj 7 chords?
Really, I need an explanation for all his variations on the F major 7 chord. Does he have tutorial explaining this?
The G is the Fmaj7sus2 sound and the D is the add6 (chord tones: F-G-A-C-D-E, playable in various inversions)
So really you‘re adding harmonic contect to make the Fmaj7 sound fuller. You can implement these suspensions in all tonic chords for example if you’re looking to get a denser sound - or leave them out if you want to have more space for the melody. Hope this helps!
Giulio Francesco Music Thanks for the explanation!
@@lucysunbeam1332 The one chord (I Chord ) can be played as a 6/9 chord, utilizing a G and a D. There are many ways to voice the F chord that go beyond just a major 7th chord.
Thx, was driving me nuts too.
Great knowledge. Thank you sir
Excellent video 👍 Question; do you know who invented jazz upper structures, or who was the first to use them? Were they played as early as Duke Ellington or Bud Powell? I seem to recall only first hearing these voicings played by Bill Evans. (Asking for my students who always ask this question). Thanks
Thank you so very much!! It's really helpful👍🎶🎶
Спасибо за очень полезную информацию
fantastic stuff
Muchas gracias, muy buen material para estudiar.
Wow you are a blessing