Its impressive how jazz educators tend to forget how important phrasing and dynamics is. Of course its complicated because of the amount of time and energy we have to spend building the basic tools (Harmony, Scales, Language, Groove, etc), but nevertheless it should be more taken in consideration. Thanks Glenn!
You are the one who should exist to spread your knowledge about jazz or music, thanks for invaluable information. Very understandable teaching and unique style, thank you so much for sharing your ideas willingly...
For "blending" tones it's not necessarily necessary to release the key of the first tone a bit later than the beginning of the second tone. When the damper stops a tone, the tone is not immediately silenced completely, but there is a little "aftersound" (how much it is depends on the regulation of the piano mechanism and on the acoustics of the room). This "aftersound" can be used for the legato illusion. So in a dry room you have to release the key of the first tone later to have sufficient legato effect, in a room with much reverb you can be rather sloppy with this and still have enough legato.
blending the notes is specific to piano, and it's a consequence of trying to be as legato as possible to emulate horn players. as a guitar player, I think you should try to emulate a sax instead of the piano. saxes are usually playing one note at a time. the main point is being mostly legato in groupings and having accents in groupings. the main effect we're trying to imitate is having groups of notes where the first note is the attack and the rest is just from air. Grant Green and Wes both achieve this effect through hammer-ons and pull-offs, but the main thing they strive for is lots of legato and accenting
Finally someone who explains this in accurate detail on youtube. Thank you !
Its impressive how jazz educators tend to forget how important phrasing and dynamics is. Of course its complicated because of the amount of time and energy we have to spend building the basic tools (Harmony, Scales, Language, Groove, etc), but nevertheless it should be more taken in consideration. Thanks Glenn!
Great content please keep making more !
You are the one who should exist to spread your knowledge about jazz or music, thanks for invaluable information. Very understandable teaching and unique style, thank you so much for sharing your ideas willingly...
For "blending" tones it's not necessarily necessary to release the key of the first tone a bit later than the beginning of the second tone. When the damper stops a tone, the tone is not immediately silenced completely, but there is a little "aftersound" (how much it is depends on the regulation of the piano mechanism and on the acoustics of the room). This "aftersound" can be used for the legato illusion. So in a dry room you have to release the key of the first tone later to have sufficient legato effect, in a room with much reverb you can be rather sloppy with this and still have enough legato.
Excellent presentation on an important aspect of jazz performance
Great work, as always.
always so inspiring 👑🙏
Great video Glenn! Thank you for this!
That's good!
Thanks a lot! You really dig stuff. When should we expect second part?
Impressive, as always 👏👏👏
great stuff! Thanks a lot!
Awesome
many thank's!
Thank you for your video. I always want to know this topic. So I cant to wait part 2 haha
Merci pour votre partage.
Genial!!! Thanks for share.
nice legato ❤️
Interesting, but where does it leave us guitar players? It implies that we can only phrase if playing on different strings.
blending the notes is specific to piano, and it's a consequence of trying to be as legato as possible to emulate horn players.
as a guitar player, I think you should try to emulate a sax instead of the piano. saxes are usually playing one note at a time. the main point is being mostly legato in groupings and having accents in groupings.
the main effect we're trying to imitate is having groups of notes where the first note is the attack and the rest is just from air.
Grant Green and Wes both achieve this effect through hammer-ons and pull-offs, but the main thing they strive for is lots of legato and accenting
Please more nobody is teachin jazz in the abstract these days