Thanks so much Kent! I'm a classical player trying to bridge into jazz. It's been tough getting the hang of it but this video lit the light bulb in my mind. You took this slowly enough which helped to let this settle in. Thanks and best to you!
Thanks, so much. I feel this is your best video ever! It should be required viewing for all aspiring piano players. It should be viewed at least 5x minimum. You pack so much into a short amount of time. I'd like to visit you on the Ranch sometime, take care... Thanks, I owe you a great debt of gratitude! 👍
First time that i hear an explanation why you use melodic minor ascending and natural minor descending. Also why you use the harmonic minor on the 5th for that one note #5 difference in the scale. So clear and simple. Tnx!
The lesson is Forevermore! Great job man!! I needed to rewhacht , replays this video, was something beyond my knowledge. But I'm studying cycle of fifths Mayor scales. Then I need More time to understand and practice . I'm practicing some ideas of your 251 videos. And I need put in practice in all Mayor keys
Try playing Cmaj7 with an E in the melody. Then move to C#m9 and move the melody note down a half step to Eb (D#). Then play an F#9 chord moving the melody note down a whole step to C#. Now resolve to Bmaj9 retaining the C# melody note as the 9th. Then resolve the melody note C# down to B natural.
Hi My friend kent this is Ivor, could there be a place where Cycle or a Coltrane Change or Shadow Harmony would be possible? Shadow harmony is a technique of Mick Goorick(former reacher of Berkeley who developed both Shadow Harmony(if i remeber the name correctly? as Generoc Modality Compression, together with Tim Miller) it is cloe the 145 125 soltutions of Chick Corea and his tetratone scale's...Shadow Harmony is a technique where a part of the melody is just played at another rate so 2 or 4 bars at will could be played together with the harmony in another key...normally they choose like 4 bars...so that a melody thesis is clearly covered, and than after 4 bars make a nice modulation...if you take It could happen to You and one starts in Eb and go to Gmaj7 after for bars, using this very formular you go from D7- to Gmaj7 in stead of Ebmaj7!! is that Magickal or isn't it!!! something trivial starts to change in something special!!! What A marvelous trick if you want I could send you the changes where but of course for you this is easy to understand this simple formular...Fun is to do this with your own bass player and don't tell him when you "leave" key I once did this with blue Bossa we ended up me playing in Ebminor and he in Cminor and I modulated back every body thought I was doing a Fancy "Out" thing I wasn't!!!### ?? w.t.f. With other words I was using Shadow Harmony on the spot the nice thing is that Dominant for the transmission called transmission Dominants are Ambigious in Nature and there is where the real magick Happens....
Isn't it true re: melodic minor scale, that - in jazz - the scale stays the same, whether ascending OR descending (unlike 'classical' theory - which is natural minor to the 5th, and Major from 5th to upper 1; then, descends downward using ONLY the natural minor form?). Thanks Kent . . . love your classes, hip cat!
Yes. Melodic minor in Jazz doesn’t change whether you’re ascending or descending. Chord is written - Maj7. That’s why these ^minor 2 5 1s work, they are modes of the melodic minor scale. Cheers
@@johnschmid865 Correct me if wrong, John, but, wouldn't that scale/chord be written as m7(#7), or, m7(M7), or even, mM7 . . . similar notation for a #9 chord?
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Thanks so much Kent! I'm a classical player trying to bridge into jazz. It's been tough getting the hang of it but this video lit the light bulb in my mind. You took this slowly enough which helped to let this settle in. Thanks and best to you!
Thanks so much for telling me so...it's very affirming for all the work I do. Best of luck, always.
Good bless U Master ❤❤❤❤
The 2nd in minor was the 7th sc.dgr in major
Fabulous, KH, and the hilarious subtitles are an added bonus.
It's a computer robot trying to understand my words. It's a double edge sword...they might be helpful...but also the misinterpretations are funny.
Thank you thank you for sharing your knowledge. Been watching for years. And love your tee shirt! It’s always just simple enough but not to simple..
Cool....thanks so much!
Thanks, so much. I feel this is your best video ever! It should be required viewing for all aspiring piano players. It should be viewed at least 5x minimum. You pack so much into a short amount of time. I'd like to visit you on the Ranch sometime, take care... Thanks, I owe you a great debt of gratitude! 👍
That's a great comment...and so helpful to me...and helps to keep me going!
Thanks Kent your videos are awesome
Thank you!
Огромное Вам спасибо 🙏💕 Thank You very much❤ from Saint- Petersburg😊
Thank you
My pleasure!
First time that i hear an explanation why you use melodic minor ascending and natural minor descending.
Also why you use the harmonic minor on the 5th for that one note #5 difference in the scale. So clear and simple.
Tnx!
I'm glad I could clarify Thanks!
The lesson is Forevermore! Great job man!! I needed to rewhacht , replays this video, was something beyond my knowledge. But I'm studying cycle of fifths Mayor scales. Then I need More time to understand and practice . I'm practicing some ideas of your 251 videos. And I need put in practice in all Mayor keys
Thanks for telling me....keep at it!
Put the time into study and practice...and you will reap the rewards!
Hey Kent, do you have any smooth transition for modulating a half step down?
Try playing Cmaj7 with an E in the melody. Then move to C#m9 and move the melody note down a half step to Eb (D#). Then play an F#9 chord moving the melody note down a whole step to C#. Now resolve to Bmaj9 retaining the C# melody note as the 9th. Then resolve the melody note C# down to B natural.
Really a great exercise. You mentioned sheet music that goes with this exercise. Is that in your book?
It's on my website under 2 5 1 and also in the Appendix to my book.
This is exactly what I was looking for. Thanks for the great tutorial 🙏
Is there sheet music for the 2 5 1 drills in this video?
Yes, on his older website.
Thanks. I was able to find it 😊
Go to kenthewitt.net
Hi My friend kent this is Ivor, could there be a place where Cycle or a Coltrane Change or Shadow Harmony would be possible? Shadow harmony is a technique of Mick Goorick(former reacher of Berkeley who developed both Shadow Harmony(if i remeber the name correctly? as Generoc Modality Compression, together with Tim Miller) it is cloe the 145 125 soltutions of Chick Corea and his tetratone scale's...Shadow Harmony is a technique where a part of the melody is just played at another rate so 2 or 4 bars at will could be played together with the harmony in another key...normally they choose like 4 bars...so that a melody thesis is clearly covered, and than after 4 bars make a nice modulation...if you take It could happen to You and one starts in Eb and go to Gmaj7 after for bars, using this very formular you go from D7- to Gmaj7 in stead of Ebmaj7!! is that Magickal or isn't it!!! something trivial starts to change in something special!!! What A marvelous trick if you want I could send you the changes where but of course for you this is easy to understand this simple formular...Fun is to do this with your own bass player and don't tell him when you "leave" key I once did this with blue Bossa we ended up me playing in Ebminor and he in Cminor and I modulated back every body thought I was doing a Fancy "Out" thing I wasn't!!!### ?? w.t.f. With other words I was using Shadow Harmony on the spot the nice thing is that Dominant for the transmission called transmission Dominants are Ambigious in Nature and there is where the real magick Happens....
Where can I find the sheet music? In the book?
It's on my website and also in the Appendix to my book...well worth it.
Hey Kent, very helpful stuff! Is the sheet free to download?
The score is on my website under "Two" ...also injmy Appendix to my book!
Are you perhaps in family with a old composer Eliza Hewitt psalmscomposer
I've heard of him...but I don't think we're related. He's from Philly and we're New Englanders.
Isn't it true re: melodic minor scale, that - in jazz - the scale stays the same, whether ascending OR descending (unlike 'classical' theory - which is natural minor to the 5th, and Major from 5th to upper 1; then, descends downward using ONLY the natural minor form?). Thanks Kent . . . love your classes, hip cat!
Yes. Melodic minor in Jazz doesn’t change whether you’re ascending or descending. Chord is written - Maj7. That’s why these ^minor 2 5 1s work, they are modes of the melodic minor scale. Cheers
@@johnschmid865 Correct me if wrong, John, but, wouldn't that scale/chord be written as m7(#7), or, m7(M7), or even, mM7 . . . similar notation for a #9 chord?