Marc do you have any tip about the fingering ? I can read the treble and bass clef flawlessly but my sight reading/playing at the same time is bad. I think it mostly due to fingering problem and I just freeze to process the info
Really, for the sort of thing I am discussing here, you don't need any fancy fingering - you could do just fine with just your index finger. But, for developing good fingering skills, practicing your major scales in all keys (with correct fingering of course) is the best way I know. This teaches you hands the optimum ways of moving. You can also play through sheet music that has been professionally edited with fingering suggestions, but everyone's hand is different, so you have to take those editorial suggestions with a grain of salt sometimes.
@@OutsideShoreMusic I know well all the keys yes but I think I'm just bugging cause I'm not used to that ! I have to trained and do that on a regular basis. Thanks !
Really neat for those of us who haven't spent a lot of time with lead sheets. The one mental exercise bit is recognising chords which contain non chord tones in the key. As you suggested, the Fmi7 [ii7 in E flat] chord at the start of bar 4 which is within the key might not need an additional note, but following the F chord from the previous measure which has an A(natural) it is better to play the A flat again to reconfirm the tonality. However at measure 12, if I understood correctly, there isn't a need to play an extra note, as the only common tone from the previous measure is the F in the C7/G chord and no change or reinforcement is needed. I'm not sure exactly how much mental agility is required to do this “on the fly” - while playing. Maybe some players eyeball the chords in advance - but others may not. Do the notes which need attention change in different transpositions? I should be able to work that out - but you may be able to give a quick answer.
With a little experience, the non-diatonic chords are easy to spot - at least in the keys you are experienced with. For msot jazz musicians, that would include G, C, F, Bb, and Eb. So sight-reading from a lead sheet is simple in those keys. We might fumble around more in B or Db. For any given chord progression, transposing it won't change any of these details. The interval relationships remain the same, so the non-diatonic notes are the same, the voice leading is the same, etc. Realistically, I'd rarely actually play *this* simply, but it's a great foundation.
Marc do you have any tip about the fingering ? I can read the treble and bass clef flawlessly but my sight reading/playing at the same time is bad. I think it mostly due to fingering problem and I just freeze to process the info
Really, for the sort of thing I am discussing here, you don't need any fancy fingering - you could do just fine with just your index finger. But, for developing good fingering skills, practicing your major scales in all keys (with correct fingering of course) is the best way I know. This teaches you hands the optimum ways of moving. You can also play through sheet music that has been professionally edited with fingering suggestions, but everyone's hand is different, so you have to take those editorial suggestions with a grain of salt sometimes.
@@OutsideShoreMusic I know well all the keys yes but I think I'm just bugging cause I'm not used to that ! I have to trained and do that on a regular basis.
Thanks !
Amazing video ❤ Thank you sir
Really neat for those of us who haven't spent a lot of time with lead sheets. The one mental exercise bit is recognising chords which contain non chord tones in the key.
As you suggested, the Fmi7 [ii7 in E flat] chord at the start of bar 4 which is within the key might not need an additional note, but following the F chord from the previous measure which has an A(natural) it is better to play the A flat again to reconfirm the tonality.
However at measure 12, if I understood correctly, there isn't a need to play an extra note, as the only common tone from the previous measure is the F in the C7/G chord and no change or reinforcement is needed.
I'm not sure exactly how much mental agility is required to do this “on the fly” - while playing.
Maybe some players eyeball the chords in advance - but others may not.
Do the notes which need attention change in different transpositions? I should be able to work that out - but you may be able to give a quick answer.
With a little experience, the non-diatonic chords are easy to spot - at least in the keys you are experienced with. For msot jazz musicians, that would include G, C, F, Bb, and Eb. So sight-reading from a lead sheet is simple in those keys. We might fumble around more in B or Db.
For any given chord progression, transposing it won't change any of these details. The interval relationships remain the same, so the non-diatonic notes are the same, the voice leading is the same, etc.
Realistically, I'd rarely actually play *this* simply, but it's a great foundation.