The set up…. It’s always a bit of a mystery how to teach improvisation, exercises or pre planned licks aren’t it, but the key phrase here for me was when you said “using my musical instinct” and I think that’s exactly what smart exercises like this, transcription, attentive listening, Barry Harris type exercises do. Develop one’s musical instinct for jazz language so improvisation becomes as normal as talking. Then we can focus on if we can say something people might want to listen to. Great lesson.
@@JeremySiskind you’re right, maybe it’s not even measurable in a conventional way. The other extreme is people saying “just feel it”. As people who want to play jazz it comes back to what you said Fred H said to you, we want to be ourselves, but we can’t jump from complete novice to fully expressing ourselves. Like you also said I think, we are the sum of all our influences, but need to work like this to hone our skills. I’m not a young person, but early in my jazz education, my biggest lesson is to keep going, take in small bits of information and apply them. Your content and books help with that.
This is an amazing tutorial. Many theory books talk about beat 1, 2 and 4. This showed me how beat 3 can be part of the following beat 1. I just loved it and will working on my own arrangements for weeks to come. Thanks for explaining. This is really useful.
Jeremy I stuck with you as you set things up and definitely learned a lot! If you don't know where you are going it's going to be tough to get there. Thanks for leading the way.
Hi Jeremy, thank you, thank you, thank you. I know I'll need to re-watch this video at least four or five times over the course of the next few months...trial and error, exploration and expansion. In this language of music, I am trying to learn to speak bebop. Thanks again.
One stupid question from someone who studied Classical music only; if I never heard Autumn Leaves song in my life, how can I compose anything around it if at least "rough" melody notes are not mentioned in the score? Or the lyrics? (Let's forget tempo and measure for a moment too). Because the same chords mentioned above the staves (Cm7, F7, etc), in the same succession, can host hundreds of different melodies that are not Autumn Leaves. Thank you.
You're right - the chords ca host hundreds of different melodies (probably more than hundreds...millions?). That's the art of inventing! You can take inspiration from whatever you like, including the lyrics (which most good musicians know), the original melody (which all decent musicians know), the history of the piece, a theory concept, or just follow our ear at the moment.
Yo bro, for a while there this solo tutorial was on the verge of disappearing forevermore into my forgotten “file 13” … that is, until you composed that “slick” G minor blues line on “the bridge” (perfect tension and release point there), whereupon your tutorial was expedited to my “Essential Blues Lines” file -- right up front.
@@JeremySiskind It absolutely did, my default improv sounds more or less the same as this video's hypothetical 'dream solo' but when I'm not overplaying lol. Watching this made me feel like I'm on the right track but the way you demostrated how phrases don't have to start or end strictly on the typical beats in a measure was eye opening for me, I've heard people say that but you brought it to life through your demonstrations. Thanks Jeremy!
Hi Jeremy, it was fun watching your process on this. I know that you said that you have your students do this. Are they eventually expected to devise an improvisation off the cuff? Do professional pianists still write out their solos before they perform them or are they always off the cuff? Thank you!
Hi Rachel, any jazz pianist is expected to improvise their solos because that’s what jazz is all about! however there’s lots of room for things in between. I know some classical pianist who plan out “improvisations“ and some rock/pop “solos” are the same or almost the same every time.
I noticed you didn’t talk about the left hand in this lesson. I’ve been playing jazz at home for years, just as a solo pianist, without anybody, playing, bass or drums with me. However, my technique is to play rootless voicings in the left-hand, as if I had a bass and drums, because it’s easy to comp that way by stabbing at rootless chords to help make your solo swing. It seems to me that if one has a strong enough improv where the right hand creates good phrases as you have just shown, one could get away with just playing the rootless voicings in the left hand as I do. Do you think this is okay, or do you suggest a different type of cord voicing in the left hand if one were to play this lesson as a solo pianist in front of an audience? It does not look like you were playing rootles in the left hand, so can you explain what you were doing? Again, from a technical point of view, it’s a bit difficult for me to jump around from chord to chord in the left-hand that have a bass note at the bottom, as it is much easier to smoothly flow from rootless voicings to rootless voicings so I can concentrate on the improvisation in the right-hand but I don’t know if this is acceptable, as without a base and drummer playing with me as it can sound kind of thin. Nevertheless, it has been demonstrated to me by some of my teachers that, once again, it can work quite well if your right-hand improv is strong enough.
Sure - rootless voicings can work. Bill EVans does that a lot. But I would generally suggest using 2- or 3- note shells with bass notes: ruclips.net/video/IrNgBaOEm2M/видео.html
Jeremy, do you think that Phineas Newborn’s album “Here is Phineas” was composed? It is note perfect. Every solo is perfection as if crafted in advance.
@@brian106699 no, he was a master improviser. I think often times improvised solos come out better then anyone could ever compose because they reflect the flow in the moment. It is a,axing though how “perfect” some musician’s solos are!
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
The set up…. It’s always a bit of a mystery how to teach improvisation, exercises or pre planned licks aren’t it, but the key phrase here for me was when you said “using my musical instinct” and I think that’s exactly what smart exercises like this, transcription, attentive listening, Barry Harris type exercises do. Develop one’s musical instinct for jazz language so improvisation becomes as normal as talking. Then we can focus on if we can say something people might want to listen to. Great lesson.
Good insight! I like that - you have to "Develop your musical instinct," although that's a hard thing to intentionally measure.
@@JeremySiskind you’re right, maybe it’s not even measurable in a conventional way. The other extreme is people saying “just feel it”. As people who want to play jazz it comes back to what you said Fred H said to you, we want to be ourselves, but we can’t jump from complete novice to fully expressing ourselves. Like you also said I think, we are the sum of all our influences, but need to work like this to hone our skills. I’m not a young person, but early in my jazz education, my biggest lesson is to keep going, take in small bits of information and apply them. Your content and books help with that.
This is an amazing tutorial. Many theory books talk about beat 1, 2 and 4. This showed me how beat 3 can be part of the following beat 1. I just loved it and will working on my own arrangements for weeks to come. Thanks for explaining. This is really useful.
Very cool! I'm glad you got something out of it. Happy arranging!
Thank you - I learned a lot! I will be trying to set up my own version of Autumn Leaves.
Yes! You'll learn a lot in the process!
This has definitely set me up in having a go at creating my own dream solo!! Great video as always!
Do itttttttt! It's a great way to learn!
Jeremy I stuck with you as you set things up and definitely learned a lot! If you don't know where you are going it's going to be tough to get there. Thanks for leading the way.
I love it. Thanks for sticking with me!
Thank you Jeremy - I love how this sets up my fall learning
Thank you Jeremy for sharing 🎶🎵🙏
@@ericsutz8026 my pleasure, Eric, thanks for watching!
Vey informative and helpful. Thank you.
My pleasure - thanks Arthur!
This video is a set-up for success!
Amazing lesson, super interesting
Hi Jeremy, thank you, thank you, thank you. I know I'll need to re-watch this video at least four or five times over the course of the next few months...trial and error, exploration and expansion. In this language of music, I am trying to learn to speak bebop. Thanks again.
Awesome! Good luck on your journey. Composing does give us the opportunity to slow down and make intentional choices.
Great video
One stupid question from someone who studied Classical music only; if I never heard Autumn Leaves song in my life, how can I compose anything around it if at least "rough" melody notes are not mentioned in the score? Or the lyrics? (Let's forget tempo and measure for a moment too). Because the same chords mentioned above the staves (Cm7, F7, etc), in the same succession, can host hundreds of different melodies that are not Autumn Leaves. Thank you.
You're right - the chords ca host hundreds of different melodies (probably more than hundreds...millions?). That's the art of inventing! You can take inspiration from whatever you like, including the lyrics (which most good musicians know), the original melody (which all decent musicians know), the history of the piece, a theory concept, or just follow our ear at the moment.
Yo bro, for a while there this solo tutorial was on the verge of disappearing forevermore into my forgotten “file 13” … that is, until you composed that “slick” G minor blues line on “the bridge” (perfect tension and release point there), whereupon your tutorial was expedited to my “Essential Blues Lines” file -- right up front.
haha, thanks for checking it out. I'm glad that it pulled through! 😂
This is very useful stuff!
Awesome! I'm really happy to hear that! Hopefully watching the process helps you think about how you would go about it.
@@JeremySiskind It absolutely did, my default improv sounds more or less the same as this video's hypothetical 'dream solo' but when I'm not overplaying lol. Watching this made me feel like I'm on the right track but the way you demostrated how phrases don't have to start or end strictly on the typical beats in a measure was eye opening for me, I've heard people say that but you brought it to life through your demonstrations. Thanks Jeremy!
@@luxolontamo4440 Niiiice! Thanks for that feedback!
Hi Jeremy, it was fun watching your process on this. I know that you said that you have your students do this. Are they eventually expected to devise an improvisation off the cuff? Do professional pianists still write out their solos before they perform them or are they always off the cuff? Thank you!
Hi Rachel, any jazz pianist is expected to improvise their solos because that’s what jazz is all about! however there’s lots of room for things in between. I know some classical pianist who plan out “improvisations“ and some rock/pop “solos” are the same or almost the same every time.
This is great
I'm really happy! I hope you got something out of watching me go through the process!
I noticed you didn’t talk about the left hand in this lesson. I’ve been playing jazz at home for years, just as a solo pianist, without anybody, playing, bass or drums with me. However, my technique is to play rootless voicings in the left-hand, as if I had a bass and drums, because it’s easy to comp that way by stabbing at rootless chords to help make your solo swing. It seems to me that if one has a strong enough improv where the right hand creates good phrases as you have just shown, one could get away with just playing the rootless voicings in the left hand as I do. Do you think this is okay, or do you suggest a different type of cord voicing in the left hand if one were to play this lesson as a solo pianist in front of an audience? It does not look like you were playing rootles in the left hand, so can you explain what you were doing? Again, from a technical point of view, it’s a bit difficult for me to jump around from chord to chord in the left-hand that have a bass note at the bottom, as it is much easier to smoothly flow from rootless voicings to rootless voicings so I can concentrate on the improvisation in the right-hand but I don’t know if this is acceptable, as without a base and drummer playing with me as it can sound kind of thin. Nevertheless, it has been demonstrated to me by some of my teachers that, once again, it can work quite well if your right-hand improv is strong enough.
Sure - rootless voicings can work. Bill EVans does that a lot. But I would generally suggest using 2- or 3- note shells with bass notes: ruclips.net/video/IrNgBaOEm2M/видео.html
What are you using to write music - what software?
I upload blank manuscript paper to the Forscore app
Jeremy, do you think that Phineas Newborn’s album “Here is Phineas” was composed? It is note perfect. Every solo is perfection as if crafted in advance.
@@brian106699 no, he was a master improviser. I think often times improvised solos come out better then anyone could ever compose because they reflect the flow in the moment. It is a,axing though how “perfect” some musician’s solos are!
I love "Here is Phineas". Scary good technique he had.
😅😅😅 love you forever
@@humblemai2211 jright back at you, Mai!
Positive comment. Yea.
Woohoo! Positivity!
@@JeremySiskind lol
you're trying but..I think you need to not think about explaining.
@@aahz42 I’m sure you’re right!