Bill Evans Chords | Guided Practice Session™ with Adam Maness
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- Опубликовано: 3 окт 2024
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Resident piano guru, Adam Maness, leads you through a LIVE Guided Practice Session™
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Wonderful soliloquy at the beginning..."we practice everyday to clear a path for that spark."
Bill Evans really was anti basic. Wasn't there a video of him essentially forgetting how to play basic diatonic harmony when asked in an interview? He immediately called upon his aural and muscle memory to whip out some jazz voicings. The interviewer had to ask him like twice til he finally simplified it and you could tell it was difficult to do for just a sec. It's amazing how the human brain works.
I would like to watch that haha got the link?
I’d like to see that too! Any link?
@george4mon and @juleskainmusic - EDIT: ruclips.net/video/5MSCReTIeH8/видео.html Sure haha. I remembered it wrong, but it starts at 4:44 ish. He didn't so much "forget" the basic harmony as much as he wasn't content with it. That bit starts around 6:57. And it was his brother interviewing him.
Yeah, I remembered it really out of context, having watched it a couple years ago before realizing I'm one of the people he's talking about. In this part he says something like how people are so quick to move past the fundamentals to get to the more complicated end result (improvisation in that example), that it just leads to more confusion. ruclips.net/video/YEHWaGuurUk/видео.html
Thanks for catching that!@@MorganHawkinsMusic
@JamesWatsonComposer yeah I was gonna say, cause I remember an interview... which may be with his brother where he talked about essentially not faking complexity. Rather, be authentic with what you know, even if it's only basic chords.
I couldn't disagree more about the Db7#11. From my point of view Evans thinks much more linear (polyphonic). Root and m3 are moving down, top is moving up. The voices in the middle add spice/colour. That's all. Thus for me it is still a colourized Am7 -> Abm7 -> Gm7 progression.
With an introduction like that, who wouldn't be salivating to watch your presentation!!
Adam....I don't know much about you but I love your spirit. It comes across your videos loud and clear. You really have a gift to share your knowledge and at the same time feel like an old friend. Thanks for being who you are.
For those of you in a hurry to get to the good stuff, lesson begins at 9:00 approximately.
Thanks ma bro!
Thank you bruv
Interested in your observation
For those really in a hurry, the lesson ends approximately at @31:00.
Love Bill Evans stuff especially with Miles. Your explanation of chords usage I find most helpful. Especially trying to understand Sus, diminished, etc as cords tones to add color and feeling to changes. Helpful.
Thank you Adam ! So good. This "ending exercise" reminds me of the end of the verse of "don't talk, put your head on my shoulder" by Brian Wilson.
In F, chords on the passage I'm thinking of would be : ... B-7#5 Bb-6 (oh my!) F/A (OHHH!) G-7 C9 G-7 C9 G-7 (kinda dorian passage} D#9 A#-7 (modultion) etc.
Great lesson! In the end it`s a IV VII III VI II V I ( B⌀7 E7 Am7 D7 Gm7 C7 Fmaj7) with a bunch of tritone-substitutions. E7 is substituted by Bbm11. I understand the Db7(#11) as an Abm maj 6 9 11, a kind of weird minor- tritone-substitution of D7. Great also the C7sus to the C7(b9#11) which ist kind of upper structure Gm7/C to F#m7/C. And this not-taking-place-resolution to the I-chord. Io7 instead, which is nothing other than E/F, like the first bar of Misty Io maj7 -> Imaj7. But the Imaj7 doesn't happen! In the end it's all about delaying the V -> I somehow. And after you did all these delay-tricks, you don't solve the Io7 to the Imaj7. So great!
I was reading the chords the same way and this mapped it out, thank you!
T HA N K Y O U A D A M!!
I just spent yesterday transcribing Herbie's head on Joe Henderson's "Photograph" because I LOVED the sound of his particular voicings. And guess how pleasantly surprised I was when I heard you playing the EXACT same voicing! (different key, but same voicing!) (your 3rd bar beats 3&4)
and YES... a wealth of information in these moves.
It really is... a WEALTH of knowledge right here!!
Thanks so much for sharing it.
You could have easily kept it to yourself, but instead, you freely give, and THAT right there is a sign of a humble, ever-learning, world-class musician in my books.
Peace and love, bro! from Japan.
Elia
Herbie Hancock said in his autobiography that his major piano influences are Oscar Peterson, George Shearing and Clare Fisher. I agree though, you can clearly hear the influence of Bill Evans and McCoy Tyner on him especially in his recordings "The Piano" And "The New Standard".
I love doing these sessions on guitar. It's always a great challenge to interpret the voicings in the best way for guitar. Thanks Adam
yes absolutely. so helpful
Yeah ! Doing same.
Thank you Adam, this is the true Bill Evans way shown to me so clearly. I followed you on guitar until I got these chords sounding right. Of course one has to make some compromises on the guitar but the trick is playing at least the essential tones that describe the chord together with the melody above. So beautiful and elegant! You are a very good teacher my friend.
I’m scared to mention at times the influence Bill Evans has on gospel music. I mean…I hear it all the time! I understand jazz and it’s roots as a purely Black American experience. But every pianist accrued by the great Miles Davis has been my keyboard hero! And my “sweet” spot in my own playing has always been attributed to Bill Evans’ approach to harmony.
I love this channel. I always learn something I can apply immediately to my practice
This was cool. Thank you, Adam.
A!! Way to bring it! I appreciate your motivating words and great respect to our Jazz Masters like Bill! Yet you have a likeability too Adam...so go live some life:) Adam
That D flat 7 #11 is really a French 6th chord. Predominant delayed by stopping by the 2 chord like you said and cadencing through the 5 chord. Its very classical in design.
Even though I found that chord mind melting, your description is way more confusing.😂
I don’t believe I would agree that the ii-7 is the same thing as V7. Just as the dominant prepares and leads to the tonic, the sub-dominant prepares us for the dominant.
😂only at the first 8 min and I feeeeel you bruh you voiced the ______ outta those progressions !!! I have a iano intro tmrw to a Hawkins classic a key above basically and i am going to use this as inspiration before i lead in to the actual intro…wuuUUUUU. Thanks for sharing🎉
man your love for jazz is so infectious, anytime I am in a bit of a creative rut I just watch one of these and it gets me right going again. this progression gives me the tingles. lovely stuff. thank you!
Wow, thats the nectar of music
Wonderful Adam!!Thank You very much 😊
awesome stuff Adam! THANKS!
I was able to get a copy of Reilly's book. Thanks for introducing me to it.
Much Thanks for this
I learned this last night, used it in church this morning. 💯
Total thumbs up on this one Adam, it's a progression that I've heard and always wanted to figure out, especially Bill Evans' style. So thanks brother. I threw a comment in the chat how Barry Harris always said that the flat iii diminished above the ii minor is so beautiful
Do you know the derivation of bIIIdim to IIm? What's going on harmonically?
@@JamesStelling the root and flat 3rd of the diminished are borrowed diminished notes for the 2 minor? I'm guessing, please share
@@deangoritz9625 Hmm, I think maybe it's just that the root and the b3 of the dim resolve down a semitone to the root and b3 of the m7. I always viewed this as Idim7/bIII. Perhaps I'm wrong though.
@@JamesStelling bIIIdim comes from the V of V. Barry would say ii - V means V, so in C you can look at Dm7 - G7 just as G7. then, bIIIdim is the diminished which D7 comes from, which is the V of V. so harmonically it's D7 going to G7. of course you can play bIIIdim - IIm and then move elsewhere but that's where the progression comes from
@@louisholley7944 Wow thanks, music never ceases to amaze :)
Thank you very much Adam!!!!! It's great the way you explain!!!!
I am from Venezuela but since many years in Berlin!!!!! 🤠🤠
makes more sense to me to analyze this Db7#11 as Abmmaj7 (Ab melodic minor chord), since we move chromatically here. I already saw exact same voicing somewhere played by B.Evans
of course, it's just a tritone substitution: Ab- instead of D7. It's just an Ab- with added 6, maj7, 9 and 11.
God I love Bill Evans
I found this awesome!! Been listening to Bill for a little while now and this video helps me think a little bit more like him when I approach the keys, thank you. But… I had to pause when you kept saying sus and sussing lmao
Adam Maness you are a real intense teacher..and I think you;ve got a very high Level musicionship already! hear is something I want something to shear to you: , could there be a place where Cycle or a Coltrane Change or Shadow Harmony would be possible? Shadow harmony is a technique of Mick Goorick(former reacher of Berkeley who developed both Shadow Harmony(if i remeber the name correctly? as Generoc Modality Compression, together with Tim Miller) it is cloe the 145 125 soltutions of Chick Corea and his tetratone scale's...Shadow Harmony is a technique where a part of the melody is just played at another rate so 2 or 4 bars at will could be played together with the harmony in another key...normally they choose like 4 bars...so that a melody thesis is clearly covered, and than after 4 bars make a nice modulation...if you take It could happen to You and one starts in Eb and go to Gmaj7 after for bars, using this very formular you go from D7- to Gmaj7 in stead of Ebmaj7!! is that Magickal or isn't it!!! something trivial starts to change in something special!!! What A marvelous trick if you want I could send you the changes where but of course for you this is easy to understand this simple formular...Fun is to do this with your own bass player and don't tell him when you "leave" key I once did this with blue Bossa we ended up me playing in Ebminor and he in Cminor and I modulated back every body thought I was doing a Fancy "Out" thing I wasn't!!!### ?? w.t.f. With other words I was using Shadow Harmony on the spot the nice thing is that Dominant for the transmission called transmission Dominants are Ambigious in Nature and there is where the real magick Happens....
One of the best RUclips tutors out there. He can obviously play like a wildman too!!!
I can't help rather hearing an Abm maj13 chord instead a Db7... Ab dim doesn't fit due to the missing b5 (d)🙄 Thanks for this great video anyway!
Thank you!
Just to note, Adam gave an example on an intro to I Fall In Love to Easily but plays " The Nearness of You."
Thanks, you clarified a doubt I had when watching ! :) He must have listened to the album "The Nearness of You" of Brad Mehldau and Josua Redman recently and fall in love with it (it's easy...) Bye be and I let you with a nice version of I Fall in Love too Easily (Keith Jarret) : ruclips.net/video/ENrRAIzlL1A/видео.html
Cocktail jazz only! Or spook movie! 🤐🤐🤐🤐
Thank god this video doesn't have that other guy shouting at me and trying to act "hip".
What a wonderful tutorial! THIS is the kind of advanced harmony stuff I’ve been looking for!
“2-5-1 is really a 5-1” - mind blown. Thank you Adam.
This was a great session. Thank you so much! Please do more videos on Bill Evans voicings and solos.
Wonderful chord progression, love it, thanks!
I hear the last chord as a E(7)/F not as a diminished. What'u think? : )
Almost the same chords no? You could think of the F as the flat 9 of the E7
Genius
Cheers from Mexico
This is like telling a painter, I have Chagall’s yellows and reds!
Adam bring these back! Gonna practice autumn leaves with this ending.
Thank you, Adam - thank you thank you thank you!
Wonderful! I am a multi instrumentalist. It takes longer, but I do it on multiple instruments.
Keyboard first , guitar, Chapman stick,Evi(electric valve instrument), then various other electric horns. And Violins 4,5,6 string electrics.
My mantra is to always sing all the notes to the to the chords/harmonies.. to vocalize as it switches in range octave displacement is applied to vocals and most instruments. I practice through all of the keys with the keyboard guitar & Chapman stick.
Practicing the horns and violins it takes longer sometimes, so I pick the keys I use the most in particular songs and I’m working on first when I have the time I go back and play through it all drop keys as I do understand the value! Let me also say that both of you in open studio and absolute treasure… I am a vocal instructor by trade, which puts me behind the piano all day long vocalize in my students. compared to some of the others from inside play am I sparkles keyboard is always been in a second cousin lol but you really open my mind to so many better voicings and fun things to do with the keys that it’s really inspired me. It has an effect of course on everything that I do and all the instruments I play I’m not bragging I’m thanking you.
Had to join Open Studio, too much goodness, man, and killer teaching throughout.
Very cool! I’ve used the Ab dim a lot, and recently added Ab7, but wouldn’t have thought of Db7.
Alucino con tus clases y aprendo un montón! Tardé un poco en conocer tu canal ! Gracias Adam, saludos desde Uruguay.
I remember you did this in the past, at least through the Ab chord (the Db7), and used to play it, but forgot it, so was so glad you played this again.
So beautiful! ❤ My knowledge isnt there yet to really get this,but I’m going to at least memorize it! And hopefully understand it better in a while when my theory knowledge progresses!
Pure magic
I dig it, beautiful progression, but to me this sounds and functions more as Abm6 sus chord. The bottom four notes spell out Abm6 which would be very resolved by itself, but the three top notes, all borrowed from the relative diminished, function to both create tension (suspend) and to continue to voice lead with contrary motion. Particularly, tension is created by the two Major7 intervals and contrary motion/voice leading is a product of the descending parallel 6ths in the bass with ascending top notes. The use of minor thirds throughout the descending section make for a darkness that is finally released momentarily into the light (C7) and then back into dark resolution of that FmM.
U rock
so bitter yet, so sweet. this is too much for jack and Jill.
adam can yu slow that down or use the app with the midi colors
Jazz players will literally play something that sounds like stinky cheese in auditory form and then say… gorgeous.. I play Jazz too lol. I can follow but it’s like far out for me.
If I can merely play thesee changes; that alone wouldl be the gateway to nirvana, Adam. I can only say WHEEE! That's it. I heard it.
That Db 7 + 11 chord doesn’t fit. An Ab chord of some type would be a better fit and make more sense. Think in Ab and make the B natural C for a moment. From the bottom in Ab, you have the root, 6, 3, 5, major 7, 9. Now, flat the 3rd. That Db on the 4th line should be written as C# since it’s a passing tone to the 5th of the Gm chord at the beginning of the next measure. Bill was thinking first to play the major 7 6/9 chord as a minor chord and that 11 at the top was just a passing tone to his desired melody note, the 5th of the Gm chord at the beginning of the next measure. It’s not just where you are but where you are going. He struck that 11th with that Ab chord chord with that intent. He was thinking ahead to that Gm chord and the D as the melody note, 1/2 step away. It was an apt resolution.
That dam db7 voicing tho in left hand
What kind of practice journal is that in the intro video
The Algorithm assumed I was a jazz pianist, I’m assuming from all the Jacob Collier videos I’ve watched. I’m not, but I’m a jazz theory enthusiast, so I just watched this for the explanations of Bill Evans voicing and still got a ton out of it.
Can't reach from low G to B flat just below middle C here. And I'm not going to roll it. So I guess I just can't play spaced out guitar chords like Bill and Adam. I feel like Bill Evans steals all his voicings from how a guitar player would have to play them and then adds in extra shit because you can on the piano. Ooh. Appegiation sounds beautiful...like Chopin or Scriabin.
Thanks for this gift Adam.. it's a real golden nugget with a lot of different bits of info to learn from and play around with.!
Let's break this down one more time: Adam! I need the notes! I can see your fingers well enough but I want to know these changes. Beautiful!
slick lesson...you're quite the teacher, Adam!
Michael/Australia
A good practice is to keep your thumbs closer to black keys when playing white keys.
You are keeping them to far, and have to much distance to travel each time you switch.
Teach in c please 😂
Thank you for this well considered session. Just listening to this (and not even practising) is fulfilling in itself.
9:47 Is he playing a dim7 here or a m7 or both? For the Db7(#11). Thanks
Great job. Inspired playing
Adam! You're great! I'm practicing in North Carolina!
LISTEN TO THAT CHORD!! i mean,COME ON!!!!! THANK YOU
Two decades studying the chord progression thats what in talking about
watched many tuts attempting this same kind of thing but this is the one that nails it for me
Omg how does anyone play like that soooo many colors
Great video - thank you for sharing these voicings
Punaise mais ce niveau de mauvaise foi, comment le « questionneur » fait semblant de ne pas comprendre les explications qui lui sont données…
What are the best Bill Evans solo piano recordings or trio to transcribe
Which musical school did you attend? Love your site!
A wonderful lesson from a true chord lover. Thank you Adam!
So helpful!thanks for this sessions!
Thanks 🙏 🔥 🎶 #sandiego
Thank you for the love you put into your work, man.
How about Heribe's intro to Ceora.
Smoky Gritty and Beautiful! Just Like you Adam! lol This was great, thanks.
It’s so funny that you mention 4:54 I fall in love to easily, but played the nearness of you. that being said, I’m playing the nearness of you for my recital so I was pleasantly surprised when you started playing the melody! :)
Florida…
I enjoyed this content, thank you! #pianocoach
Man, Roy from IT Crowd got chops
Shit I just realized these are almost the same chords as Robert Glasper's "Lift Off"
How do I get your jazz beginners course as the link did not work?
grande grazie.........fantastic
This lesson completely blew me away. Where/how did you learn this?! Did you figure this out from transcribing a song?
Ab (Eb,Ab,C) over Gb,Bb,
Gb (Db,Gb,Bb) over Ab,C,
F
Man! I've been playing by ear for 20 years and I always loved Bill Evans. That D flat 7 #11 is a chord I looooove and I always called it "the glamour" because I didn't know the theory behind it. I just know a little major here, a little minor there and maybe a tritone and I've made due with that. The rest I just made up names for lol. It's so satisfying to finally learn to play my favorite music and find out that it's probably my favorite music because I already intuitively know some of the chords. Thanks for posting these. I always wanted to take piano more seriously and jazz books can be kind of dry (still good sources of info), but videos are super convenient for learning at your own pace.
Very goood, thanks Adam here from Aalborg Denmark