On the 15th &16th measure the chord is Cm and C major with 5b &9b On the 14th the chord is D9b in second inversion (the Gb must be write as F#) On 20th is C major not Cm, the Eb is appogiature to the Db (the ninth of the chord)
What book is this from? I have "Oscar Peterson - Jazz Exercises, Minuets, Etudes & Pieces for Piano", and it's completely different. Didn't find anything by the name of "Jazz Exercises for Piano".
@@HerrBakran no, the rhythm is written so it has to be done that way and anyway "wing" is not to do systematic transformation in triplets (the 1st note of each beat double longer than the 2d) instead of even semi quarters. Unless of course if it is juste a ruff graphic of the chords of the composer and not his actuel "score", in that case the player is free.
Kiarinadia Jazz is commonly notated in straight eights, but the performer adds the swinging feeling (or sometimes also referred to as shuffle) when interpreting the music. Read about it here: en.wikipedia.org/wiki/Swing_(jazz_performance_style)
@@HerrBakran Yes ok but if you go to the other videos of the full set we see the score and every thing is noted. This particular one is supposed to be played fast like a Bach's "invention" or a prelude and does not need this rhythmic distortion.
?? and ?? = bar 15 in steps: V II - bar 16 bII to bar 17: new I (Fm) / or in functions: bar 15: Cm is center but also Dominant. And you take this function because of the new center in bar 17 (Fm). So, the simple chord you have to write for players is C #9 (not b3). Now bar 16: It is for players Gb (major), substitute for the normal dominant (bII = V), than you reach in bar 17 the new center Fm! That's enough for understanding. In music it is an normal harmonic modulation. The problem for them who love more theorie is bar 15, because for this kind of modulation you need one chord with two possible functions. In bar 15, you whould have Cm, and you find this chord as Cm #7/9. But this theoretic way is here not probably because all harmonic centers are simple and clear. But what ever: you have the choice! My ears, this is my institution, and that's the best way for looking of an decision, are hearing the chain C G7 (in 15) Gb (16) and Fm (17). Okay??
BRAVO!!! 👏👏👏🔥🔥🔥
On the 15th &16th measure the chord is Cm and C major with 5b &9b
On the 14th the chord is D9b in second inversion (the Gb must be write as F#)
On 20th is C major not Cm, the Eb is appogiature to the Db (the ninth of the chord)
15th : CmMaj7 ?
What book is this from? I have "Oscar Peterson - Jazz Exercises, Minuets, Etudes & Pieces for Piano", and it's completely different. Didn't find anything by the name of "Jazz Exercises for Piano".
@susacac en este caso la partitura esta escribida. No comprendo porque el ritmo esta cambiado por la persona que toca.
What is the name of book by Peterson is yours?
@Kiarinadia so it swings? Para que la música pueda swing!
Why the uneven rhythmic flow ?
Because its notation software playing the chart not a person.
It’s called ‘Swing’.
@@HerrBakran no, the rhythm is written so it has to be done that way and anyway "wing" is not to do systematic transformation in triplets (the 1st note of each beat double longer than the 2d) instead of even semi quarters. Unless of course if it is juste a ruff graphic of the chords of the composer and not his actuel "score", in that case the player is free.
Kiarinadia Jazz is commonly notated in straight eights, but the performer adds the swinging feeling (or sometimes also referred to as shuffle) when interpreting the music. Read about it here: en.wikipedia.org/wiki/Swing_(jazz_performance_style)
@@HerrBakran Yes ok but if you go to the other videos of the full set we see the score and every thing is noted. This particular one is supposed to be played fast like a Bach's "invention" or a prelude and does not need this rhythmic distortion.
I love this melody
Esta mal
?? and ?? = bar 15 in steps: V II - bar 16 bII to bar 17: new I (Fm) / or in functions: bar 15: Cm is center but also Dominant. And you take this function because of the new center in bar 17 (Fm). So, the simple chord you have to write for players is C #9 (not b3). Now bar 16: It is for players Gb (major), substitute for the normal dominant (bII = V), than you reach in bar 17 the new center Fm! That's enough for understanding. In music it is an normal harmonic modulation. The problem for them who love more theorie is bar 15, because for this kind of modulation you need one chord with two possible functions. In bar 15, you whould have Cm, and you find this chord as Cm #7/9. But this theoretic way is here not probably because all harmonic centers are simple and clear. But what ever: you have the choice! My ears, this is my institution, and that's the best way for looking of an decision, are hearing the chain C G7 (in 15) Gb (16) and Fm (17). Okay??
thanks
Its just d,e,f major scales