I've had this video saved in my watch later list for the past 2 months, and rewatched it multiple times to help improve my playing from lead sheets. The part about making the chords a bit more sophisticated by breaking them up, adding some rhythm, dropping some notes really has opened up my eyes on how I can make a piece truly my own. Now I work on all these tips and dynamics whenever I encounter a lead sheet. Thank you very much, Gareth!
You're videos let my imagination and creativity come alive especially deciding whether to put notes on the left or sometimes in the right hand or divide them into both.. ty so so much for opening my path to more learning! Bravo
So glad to find this. You got me through my Grade 5 theory...and I finally passed my Grade 8 practical - thank you! Have been looking at using these lead sheets and you've explained this perfectly.
Excellent advice! I think this is one of the essential skill for any well-rounded musician, like transposing a song. Mainly classical trained musicians stick to their keys and sheet music and feel lost when asked to play from a lead sheet. Great to hear encouraging content like this from someone outside the “holy realm” of jazz! Cheers so much!
It’s a pleasure and I completely agree with you. We need many more people to be cross-over musicians. Anyway, these are very useful musicianship skills, regardless of genre.
Amazing and helpful video. Listening to you speak and play was wonderful and I don't know how many times I replayed the end where you put everything together so fluently. It's super impressive to me how you can just look at the written chords and then casually divide chords and throw in some rhythm. I'm going to set a goal today that one day I'll be able to play lead sheet music as fluently as you.
Great video! Surprisingly, (spending most of my career in Boy Choir, Church Choir, etc) I have no real experience in Lead Sheets. Fascinating stuff. Thanks!
10:58 A taste of the juice of Jazz... . Wish you teach jazz music more often.. . A few lessons on those "not so facncy" left hand rhythms would be wonderful.. .
Very helpful video, thank you. Especially the introduction on how to build cords. I'd be interested to learn how playing from lead sheets would change if there was more the one instrument, for example one person playing the harmony on the piano and another playing the melody on a sax or violin.
The great thing is that you can have as many players as you like as long as everyone is engaged in playing the melody or in playing notes that belong to the specified chords or in playing inessential notes.
Great! The way you improvised it sounds so nice. I hope you could record some music like this. These kind of ‘jazzy’ chords take time to get but they offer more colour or feeling than the more standard chords. One thing that I find useful for interpreting extension numbers (still getting used to them!) is just to subtract 7, so for example if you read G9 then you have the second note in G major, that is, A, in the chord
That’s a great strategy. I’ve done quite a lot of recordings of this style on our social media posts if you want to find us on Instagram or Facebook. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Good explanation! It's a pity i can't see the hands. Once you hace the notes of a chord, how do you decide how to spread them? I mean, ypu have passed from playing the notes in order to, e.g., taking the 3rd and the 5th upper. Is a random decission? I have learned to play chords depending on the notes of the previous chord, making inversions disposing the notes as near as the previous chord notes...
You have many options when it comes to the distribution of notes in chords. You can see the notes light up on the screen, which is far more useful than watching the hands.
@@MusicMattersGB I'm curious which of your online courses would provide the best background to improvising from lead sheets for someone who has a basic piano-playing background (can read sheet music fine) and play to an intermediate level) but have never improvised before.
Oh, wow, from 11 just brilliant, it made me smile with delight, so nice. That F#m7 is also A6, correct? And the F#m7b5 is Am6, am I correct, I hope so. Where does the B in the melody come into this chord. Sus4! Thanks again, so great.
It’s true that you can often read 7th chords as something else with an added 6th. From the point of view of context within a key it’s usually more useful to read them as 7ths even though from a playing point of view it’s often easier to read added 6th chords.
Hi. Yes it’s exactly that. It includes all the teaching you need for Grades 6-8. I also offer a marking/ feedback option as an additional service should you want it.
Hi Gareth, Thanks for your very helpful videos. One thing I'm a bit confused about is the Bm7(flat 5) ... does a minor chord with a flat 5 not become a diminished chord?
You’re absolutely correct. It’s sometimes written this way as it’s a quick way to locate the chord. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I know this comment is a year old and I may be wrong but the reason why they write minor 7th flat 5, is because it is often the II chord in a minor key, such as the notes (D, F, Ab, C) in C minor, which is different to the fully diminished 7th. Which is chord VII in minor like (B, D, F, Ab).
Had you practised those versions beforehand or were they improvised? That sounded so good!!! As a classical musician I rarely do this kind of stuff and would love to get into it.
The basic principle is to choose chords that have the melody notes in them. Have a look at our videos on the subject on the RUclips channel. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
As long as it’s clear what needs to happen. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
A good parallel topic which is untouched is this: "What is jazz? Here is something considered jazz. And /here is something NOT considered jazz/. And here is the difference between these two examples." Not even jazz professors or jazz student players can answer this question.
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I've had this video saved in my watch later list for the past 2 months, and rewatched it multiple times to help improve my playing from lead sheets. The part about making the chords a bit more sophisticated by breaking them up, adding some rhythm, dropping some notes really has opened up my eyes on how I can make a piece truly my own. Now I work on all these tips and dynamics whenever I encounter a lead sheet. Thank you very much, Gareth!
Fabulous.
My issues is how i determine the fingering on the right hand. How do I figure that out?
Great. Thanks for this lesson. Suggestion: More on this subject.....how to figure out how to do various styles of left hand.
That could certainly be another topic.
Replaces hours of lessons, so helpful. Thanks.
Glad it’s useful. Much more at www.mmcourses.co.uk
One of the best lessons I have seen (yet) on MM!
I think I'll save it and rewatch it again just so it sinks in! Thanks!
That’s the great thing about video resources. You can watch them over and over again.
You're videos let my imagination and creativity come alive especially deciding whether to put notes on the left or sometimes in the right hand or divide them into both.. ty so so much for opening my path to more learning! Bravo
Enjoy our channel. Have a look at www.mmcourses.co.uk for details of our online courses and of our exciting Maestros programme.
So glad to find this. You got me through my Grade 5 theory...and I finally passed my Grade 8 practical - thank you! Have been looking at using these lead sheets and you've explained this perfectly.
That’s great. Congratulations!
You just taught me so much in a matter of 9 minutes it’s unreal
Glad it’s helpful. Much more at www.mmcourses.co.uk
Excellent advice! I think this is one of the essential skill for any well-rounded musician, like transposing a song. Mainly classical trained musicians stick to their keys and sheet music and feel lost when asked to play from a lead sheet. Great to hear encouraging content like this from someone outside the “holy realm” of jazz! Cheers so much!
It’s a pleasure and I completely agree with you. We need many more people to be cross-over musicians. Anyway, these are very useful musicianship skills, regardless of genre.
Amazing and helpful video. Listening to you speak and play was wonderful and I don't know how many times I replayed the end where you put everything together so fluently. It's super impressive to me how you can just look at the written chords and then casually divide chords and throw in some rhythm. I'm going to set a goal today that one day I'll be able to play lead sheet music as fluently as you.
That’s great and thanks for your comment. You would enjoy some of our courses at www.mmcourses.co.uk
Great video! Surprisingly, (spending most of my career in Boy Choir, Church Choir, etc) I have no real experience in Lead Sheets. Fascinating stuff. Thanks!
You would very quickly get into it. Many worship songs use lead sheets.
Thanks, Gareth.
Very clear and easy to understand
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
10:58 A taste of the juice of Jazz... . Wish you teach jazz music more often.. . A few lessons on those "not so facncy" left hand rhythms would be wonderful.. .
😀
Very helpful video, thank you. Especially the introduction on how to build cords.
I'd be interested to learn how playing from lead sheets would change if there was more the one instrument, for example one person playing the harmony on the piano and another playing the melody on a sax or violin.
The great thing is that you can have as many players as you like as long as everyone is engaged in playing the melody or in playing notes that belong to the specified chords or in playing inessential notes.
Wow a lot of good information and you explain it well. I just know regular stuff and would take awhile for me to wrap my head around it all
That’s great. Much more to help you at www.mmcourses.co.uk
Great! Of the best lessons!
You’re most kind.
Very well explained. Thank you.
A pleasure. Much more at www.mmcourses.co.uk
Great lesson. How do you practice different rhythms?
Have a look at our Rhythm Bootcamp course at www.mmcourses.co.uk
Please do more on lead sheets and jazz voicing
Okay
This was fun....jammed along with my guitar
Excellent!
Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I was just thinking to look this up lol
That’s very timely then. Hope it’s useful.
Great! The way you improvised it sounds so nice. I hope you could record some music like this.
These kind of ‘jazzy’ chords take time to get but they offer more colour or feeling than the more standard chords. One thing that I find useful for interpreting extension numbers (still getting used to them!) is just to subtract 7, so for example if you read G9 then you have the second note in G major, that is, A, in the chord
That’s a great strategy. I’ve done quite a lot of recordings of this style on our social media posts if you want to find us on Instagram or Facebook. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Good explanation! It's a pity i can't see the hands. Once you hace the notes of a chord, how do you decide how to spread them? I mean, ypu have passed from playing the notes in order to, e.g., taking the 3rd and the 5th upper. Is a random decission? I have learned to play chords depending on the notes of the previous chord, making inversions disposing the notes as near as the previous chord notes...
You have many options when it comes to the distribution of notes in chords. You can see the notes light up on the screen, which is far more useful than watching the hands.
Very helpful, Thank you!
Glad it’s useful. Much more at www.mmcourses.co.uk
great lesson🙏
Most kind. Much more at www.mmcourses.co.uk
Thank you sir! Very helpful tutorial!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Great tune ! Thanks again Gareth
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
@@MusicMattersGB I'm curious which of your online courses would provide the best background to improvising from lead sheets for someone who has a basic piano-playing background (can read sheet music fine) and play to an intermediate level) but have never improvised before.
Have a look at the keyboard harmony course. It gets the chord work going under your fingers then you can transfer to lead sheet work.
@@MusicMattersGB Thanks!
😀
Excellent. Thank you.
Most kind. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Oh, wow, from 11 just brilliant, it made me smile with delight, so nice. That F#m7 is also A6, correct? And the F#m7b5 is Am6, am I correct, I hope so. Where does the B in the melody come into this chord. Sus4!
Thanks again, so great.
It’s true that you can often read 7th chords as something else with an added 6th. From the point of view of context within a key it’s usually more useful to read them as 7ths even though from a playing point of view it’s often easier to read added 6th chords.
@@MusicMattersGB Ok, thanks for the clarification. Where does that B in the melody 1st bar come into the chord please? Sus4!
Thanks again, so great.
Gareth, is the Advanced Music Theory course really everything for Grade 6-8 ABRSM music theory?
Hi. Yes it’s exactly that. It includes all the teaching you need for Grades 6-8. I also offer a marking/ feedback option as an additional service should you want it.
Hi Gareth, Thanks for your very helpful videos. One thing I'm a bit confused about is the Bm7(flat 5) ... does a minor chord with a flat 5 not become a diminished chord?
You’re absolutely correct. It’s sometimes written this way as it’s a quick way to locate the chord. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
I know this comment is a year old and I may be wrong but the reason why they write minor 7th flat 5, is because it is often the II chord in a minor key, such as the notes (D, F, Ab, C) in C minor, which is different to the fully diminished 7th. Which is chord VII in minor like (B, D, F, Ab).
True
muy bueno
gracias de nuevo
saludos
A pleasure.
Had you practised those versions beforehand or were they improvised? That sounded so good!!! As a classical musician I rarely do this kind of stuff and would love to get into it.
No. I just played/ improvised from the lead sheet. If you get into it you’ll soon be more fluent. Enjoy!
Very useful vid - would like to develop my ability to link chords with interesting rhythms/riffs etc
That’s a good ambition.
Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
How do I come up with the correct chords if I only have the melody and how much freedom do I have?
The basic principle is to choose chords that have the melody notes in them. Have a look at our videos on the subject on the RUclips channel. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
Thank you,
A pleasure. Much more at www.mmcourses.co.uk
In F# m7 b5 - shouldn't we say lowered 5th instead of flat 5th?
As long as it’s clear what needs to happen.
Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme.
A good parallel topic which is untouched is this: "What is jazz? Here is something considered jazz. And /here is something NOT considered jazz/. And here is the difference between these two examples." Not even jazz professors or jazz student players can answer this question.
Fair topic.