Thank you very much Jazz Video Guy for all the incredible content that you generated and share with all of us, this is great for learning and enjoying. It was so hard to get any of this videos before the internet era and even now you are the biggest jazz content producer, there are no words to express how thankful I feel (especially on a foreign language) THANK YOU VERY MUCH
Listening...IS the real issue.... young players should listen to all the masters and their music as much as they practice.....and understand their tone and timing by copying them....%50 practice and %50 listening....great piont by Hal Galper..thaks for the master class....
Too many modern cats these days want to freely express themselves and make noise, under the ruse of being an ‘artist.’ They are all void of the rootical tradition. Too many modern cats don’t listen anymore
Man I love these old school cats, the great thing is no matter how good you are or well you play you can go to any one of these cats and learn some different ways of looking at stuff and gain a better understanding of what we may already know so we can apply it more effectively.
Thanks for uploading all of these master classes by Hal. They are wonderful and thanks for introducing me to a pianist I had never heard of until now. I hear a good deal of Bill Evans influence in some of his playing that I have listened to and Hal and Bert Ligon are the only two musicians I have come across that are amazing pedagogical thinkers about music.
Hal Gaper is here listening to the beats within the two and three stringed notes. This can only happen on notes with 2 or more strings on the piano, and the speed / tempo of the beats will depend on how well the piano is tuned. Could be pretty awful on a slightly out of tune piano.
As a piano technician, and one who listens to and changes piano tone as my craft, I will say there are two other sources of beats other than the phasing between unison strings which you mention. There is, in nicer pianos, what classical pianists call a "bloom", which is a natural feedback resonance occuring through the soundboard that creates the longer beats that I believe Hal is describing. In a good piano, this bloom comes 3-4 times. Yes there are also phasing between tuned unisons, and as you mention as the piano goes out of tune these become less useful. There is also a third source of beats and that is when you play intervals on the piano. Fourths and fifths are slow beating intervals, and thirds and sixths are fast beating intervals. When the left hand plays these chords, I imagine that a musician with very advanced listening could use these beats as well to keep time. It's a fascinating topic either way, and in my opinion is a great pedagogical tool for helping students to listen more to the sound they are creating!
I have done this with my acoustic guitar before i was even playing (i remember listening to the beats with my head against the box while my dad played) . Then i started tuning using the beats as guides. So i assume i was locking to the beats from the sound box. But thank you both to point this, i was confused about how it would work on the piano with the unisons
Thank you very much Jazz Video Guy for all the incredible content that you generated and share with all of us, this is great for learning and enjoying. It was so hard to get any of this videos before the internet era and even now you are the biggest jazz content producer, there are no words to express how thankful I feel (especially on a foreign language)
THANK YOU VERY MUCH
Appreciate the kind words!
Listening...IS the real issue.... young players should listen to all the masters and their music as much as they practice.....and understand their tone and timing by copying them....%50 practice and %50 listening....great piont by Hal Galper..thaks for the master class....
Too many modern cats these days want to freely express themselves and make noise, under the ruse of being an ‘artist.’ They are all void of the rootical tradition. Too many modern cats don’t listen anymore
Man I love these old school cats, the great thing is no matter how good you are or well you play you can go to any one of these cats and learn some different ways of looking at stuff and gain a better understanding of what we may already know so we can apply it more effectively.
Like riding waves. And riding them out in conclusion. Nice to hear from the bass player too, need to hear from them more!
I play percussion, all these videos are GOLD.
This is frigging gold. The phrasing of the studebt was so nice when you realize what he's trying to do. I'm going to try this on my next solo!
Thanks for uploading all of these master classes by Hal. They are wonderful and thanks for introducing me to a pianist I had never heard of until now. I hear a good deal of Bill Evans influence in some of his playing that I have listened to and Hal and Bert Ligon are the only two musicians I have come across that are amazing pedagogical thinkers about music.
Best musical advice I have ever heard.
Hal Gaper is here listening to the beats within the two and three stringed notes. This can only happen on notes with 2 or more strings on the piano, and the speed / tempo of the beats will depend on how well the piano is tuned. Could be pretty awful on a slightly out of tune piano.
As a piano technician, and one who listens to and changes piano tone as my craft, I will say there are two other sources of beats other than the phasing between unison strings which you mention. There is, in nicer pianos, what classical pianists call a "bloom", which is a natural feedback resonance occuring through the soundboard that creates the longer beats that I believe Hal is describing. In a good piano, this bloom comes 3-4 times. Yes there are also phasing between tuned unisons, and as you mention as the piano goes out of tune these become less useful. There is also a third source of beats and that is when you play intervals on the piano. Fourths and fifths are slow beating intervals, and thirds and sixths are fast beating intervals. When the left hand plays these chords, I imagine that a musician with very advanced listening could use these beats as well to keep time. It's a fascinating topic either way, and in my opinion is a great pedagogical tool for helping students to listen more to the sound they are creating!
I have done this with my acoustic guitar before i was even playing (i remember listening to the beats with my head against the box while my dad played) . Then i started tuning using the beats as guides. So i assume i was locking to the beats from the sound box. But thank you both to point this, i was confused about how it would work on the piano with the unisons
A piano is a living creature, contrarily to a brass instrument. Perfectly tuned or not, it is 'alive' and will give you clues...
Came for the lesson, stayed for the jazz
excellent
Brilliant….
cool : )
Time and tone = phase
9:30 the bass player was being ignored lol
I don't think he was. He spoke directly to the students and they listened. However, it is true that he should have be asked to give his feedback...
lost of science in what he said in the begging