For those confused, using cookie cutter gives you the same shape every time same with chords, you gotta vary the shape as you move between these chords alternating major/minor triad in the right hand. Hope that makes sense.
Parallel structures are fine when used with taste and at least a few of the most respected composers of the 20th century would agree with that (Debussy, Messiaen, Stravinsky) This is the sort of topic that deserves more than a short
I love the sound, can you maybe give us an example of using this in a song? I think we’re a little lost on the context. You and Adam are awesome though!
The way I think of it is, even while you're playing modally, you still want to imply an underlying mode with some variability of intervals. To try and give the simplest example I can think of, if you're playing a quartal stack, in a lot of positions that stack can be nothing but P4s. But when you want to suggest, for example, an F quartal stack in C Ionian, you COULD just do F Bb Eb, OR you could do F B E, to follow the mode rather than just moving the shape literally. The cool thing about Jazz though is you get to mix-and-match, and divorce these relationships from their literal connection to a single mode that you're planted in. Once you know that a quartal stack with a tritone on the bottom is a working variant that suggests subdominant function, then you can employ that more arbitrarily, to suggest momentary key shifts or just to add color.
Good to know. However, whenever anyone says "Don't do this" in art, my caution level immediately spikes up. Especially when it goes into calling names territory. I like my butter notes sometimes, and sometimes I enjoy my cookie cutters. These are all tools to convey various feelings, imo
Butter notes are cookie cutters are that way for a reason because they work. Doesn’t mean you shouldn’t innovate but it also doesn’t mean if you use only them then your music will be bad
It's so easy. Just learn the F#dim+7 3rd inversion and remember not cooking cut the chords. Think in terms of triads putting the 4ths at the diminished tonic instead of scaling the augmented 6ths with bass on J#. Simple as that.
I believe "cookie cutter" in this context refers to moving chord shapes fully symmetrically, which can get the "correct" notes for the chords you are trying to play, but the sound of the voices moving from chord to chord, all moving in the same direction and staying in the same intervalic configuration, can begin to sound stale (predictable?). I'm not really a piano player, so take my explanation with a grain of salt. this does kind of come up on guitar though. it's easiest to move shapes symmetrically on the instrument, but changing your chord shapes (inversions or just changing voicings) throughout the course of a progression can give you interesting inner voice movements or otherwise smoother voice leading
Your pal Adam put out a great video about WHY we should use cookie cutter chords. You guys might want to get your brand message sorted out in the new year. ✌️
The first chord he demonstrates is a common chord used in modern jazz piano, G, Ab, C, D, and then G again. This chord could be used for many chord symbols. My first instinct would be to use this chord as a dominant function because of the tensions in the sound. E7 altered, or Bb13 would be two good options. There are many others, including Abmaj7#11, G7susb9, or even perhaps a Dmin11b5. There are other uses for it as well. A common technique in modern jazz piano is to create additional tensions by transposing a chord shape in intervals of minor 3rds. In this way, every note of the chord would move up exactly 3 semitones. This can be done 3 times before you would reach the initial chord again. The topic of this video addresses this transpositional technique and in it, Peter suggests that while one might be inclined to move the shape symmetrically, another way of adding different colours to the sound would be change some of the inner voices. By using triads in the right hand, and keeping the melody note consistent with the “predictable” minor third movement he is able to draw some more unique sounds out of this technique.
I believe "cookie cutter" in this context refers to moving chord shapes fully symmetrically, which can get the "correct" notes for the chords you are trying to play, but the sound of the voices moving from chord to chord, all moving in the same direction and staying in the same intervalic configuration, can begin to sound stale (predictable?). I'm not really a piano player, so take my explanation with a grain of salt. this does kind of come up on guitar though. it's easiest to move shapes symmetrically on the instrument, but changing your chord shapes (inversions or just changing voicings) throughout the course of a progression can give you interesting inner voice movements or otherwise smoother voice leading
I’m sorry, Peter Martin, but what you’re trying to convey here isn’t clear. I watch your other videos regularly and learn plenty from them, but even as a professional musician myself, this one has got me confused.
This is the most confusing video I've ever watched.
me too
I agree, probably needs a more in-depth explanation
Great sound though
“Do a little this and a little of dat and bada Bing bada boom you got it!” 🤣🤣🤣
@@coolseaking3757 No cookie cutter!
might be cuz i do classical idk
For those confused, using cookie cutter gives you the same shape every time same with chords, you gotta vary the shape as you move between these chords alternating major/minor triad in the right hand. Hope that makes sense.
Thank you so much for this! 'Cause I didn't understand what he meant by Cookie Cutter chords. ☺️
Instructions unclear. Neighborhood dogs won’t stop howling.
This is one of the video's i get in like a few years
i just wanna be able to play what i’m hearing in my head
the more you shed the more you can say what you hear
Parallel structures are fine when used with taste and at least a few of the most respected composers of the 20th century would agree with that (Debussy, Messiaen, Stravinsky) This is the sort of topic that deserves more than a short
I love the sound, can you maybe give us an example of using this in a song? I think we’re a little lost on the context. You and Adam are awesome though!
The way I think of it is, even while you're playing modally, you still want to imply an underlying mode with some variability of intervals. To try and give the simplest example I can think of, if you're playing a quartal stack, in a lot of positions that stack can be nothing but P4s. But when you want to suggest, for example, an F quartal stack in C Ionian, you COULD just do F Bb Eb, OR you could do F B E, to follow the mode rather than just moving the shape literally.
The cool thing about Jazz though is you get to mix-and-match, and divorce these relationships from their literal connection to a single mode that you're planted in. Once you know that a quartal stack with a tritone on the bottom is a working variant that suggests subdominant function, then you can employ that more arbitrarily, to suggest momentary key shifts or just to add color.
Good to know. However, whenever anyone says "Don't do this" in art, my caution level immediately spikes up. Especially when it goes into calling names territory. I like my butter notes sometimes, and sometimes I enjoy my cookie cutters. These are all tools to convey various feelings, imo
Butter notes are cookie cutters are that way for a reason because they work.
Doesn’t mean you shouldn’t innovate but it also doesn’t mean if you use only them then your music will be bad
It's so easy. Just learn the F#dim+7 3rd inversion and remember not cooking cut the chords. Think in terms of triads putting the 4ths at the diminished tonic instead of scaling the augmented 6ths with bass on J#.
Simple as that.
So, what is he trying to convey? Use different inversions when moving up the piano? I still have no clue what cooky clutter is
Different voicings as you move up; similar motion instead of pure parallel motion.
Theres another video or two they have just on cookie cutter chord voicings really this is building off of that.
I believe "cookie cutter" in this context refers to moving chord shapes fully symmetrically, which can get the "correct" notes for the chords you are trying to play, but the sound of the voices moving from chord to chord, all moving in the same direction and staying in the same intervalic configuration, can begin to sound stale (predictable?).
I'm not really a piano player, so take my explanation with a grain of salt. this does kind of come up on guitar though. it's easiest to move shapes symmetrically on the instrument, but changing your chord shapes (inversions or just changing voicings) throughout the course of a progression can give you interesting inner voice movements or otherwise smoother voice leading
Cookie cutters do the same shape all around, don't do that at the keys to get a bit more variety
I like to play butter notes, even if Miles Davis frowns upon those
Reminds me of the piano solo from Naima
Yep. Wynton Kelly plays a lot of o(maj7) block chords on that.
@@UkuleleAversion-Tommy Flanagan-
Edit: I am so sorry - it was Wynton
I had never looked into it
Least confusing piano short
Amazing ! Thank you. Using this tomorrow!
Beautiful
Your pal Adam put out a great video about WHY we should use cookie cutter chords. You guys might want to get your brand message sorted out in the new year. ✌️
Maybe the most unclear video I've ever seen xD This is collector!
Would pull this vid if I was Open Studio
which of their courses teaches this?
its ah-ight!
Time to tune your piano, guys.
That whole lesson was a song!!!
So what are you saying, ascending and descending thirds between root form and second inversion chords?
First inversion, too?
As a guitarist, this video seems to be saying vary the chords by going in & out of the mode your song is in?
BUT KEY QUESTION WHAT EXACTLY IS COOKIE CUTTER nktes how do you know whicj are which
I better get some milk, cos I’m about to eat these cookie cutters!!!
Hey, my piano can't play quarter tones...
Muitoooo bom! Sou teu fã!
Yeah, some content isn’t suited to shorts
wait what
please . whats the progression ?
Argh, too many things to practice!!!
What
I think maybe what is saying is to use inversions? Idk I'm confused af
I also think he's talking inversions
The first chord he demonstrates is a common chord used in modern jazz piano, G, Ab, C, D, and then G again. This chord could be used for many chord symbols. My first instinct would be to use this chord as a dominant function because of the tensions in the sound. E7 altered, or Bb13 would be two good options. There are many others, including Abmaj7#11, G7susb9, or even perhaps a Dmin11b5. There are other uses for it as well.
A common technique in modern jazz piano is to create additional tensions by transposing a chord shape in intervals of minor 3rds. In this way, every note of the chord would move up exactly 3 semitones. This can be done 3 times before you would reach the initial chord again.
The topic of this video addresses this transpositional technique and in it, Peter suggests that while one might be inclined to move the shape symmetrically, another way of adding different colours to the sound would be change some of the inner voices.
By using triads in the right hand, and keeping the melody note consistent with the “predictable” minor third movement he is able to draw some more unique sounds out of this technique.
I believe "cookie cutter" in this context refers to moving chord shapes fully symmetrically, which can get the "correct" notes for the chords you are trying to play, but the sound of the voices moving from chord to chord, all moving in the same direction and staying in the same intervalic configuration, can begin to sound stale (predictable?).
I'm not really a piano player, so take my explanation with a grain of salt. this does kind of come up on guitar though. it's easiest to move shapes symmetrically on the instrument, but changing your chord shapes (inversions or just changing voicings) throughout the course of a progression can give you interesting inner voice movements or otherwise smoother voice leading
But, Adam has video called c.c.c.😅
Me want cookie
I’m sorry, Peter Martin, but what you’re trying to convey here isn’t clear. I watch your other videos regularly and learn plenty from them, but even as a professional musician myself, this one has got me confused.
This was not a good idea for a RUclips short
Your material and teaching is solid - you don’t need to try to sound credible with Hiphop affectations. You ARE legit.
If you get hung up about just hearing the word aight then you're the one with the issue
Awful😂
This is so pretentious just play the instrument and enjoy it