Magic Voicing System
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- Опубликовано: 13 сен 2024
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This must be the single most useful video of actually demonstrating the use of quartal/upper structure harmony on a real tune!
This is so so educational....who does this other than Adam and his partner...shout out to Mr. Man....thumbs up bro....wish I was further in my piano.... I'm a saxman.
Adam... More of these. This is where its AT! Not only are you showing people how to think beyond, you're also showing us how to zero-in and really look at a piece of music.
I just learned more in this video than I did in 2 years of Jazz studies at college 40 years ago. I love the way you explain things, and also the fun and joy you have exploring harmony. I play Sax and a very basic keyboard....Thank you..
I remember watching this video over a year ago and thinking, this is way above what I am ready for. But now I am completely absorbed and so incredibly excited to add this to my vocabulary. I was so absorbed I noticed bar 10 needs a db in the bottom note of the right hand😊thanks for all of the content over the years.
When I pressed play on this video, I figured I already knew this. 10 min later, my head exploded.
Thought I knew this, but I second the head explosion comment below. A bit like discovering Barry Harris chord movements. The "map" in C you use could be usefully written functionally, mapping the chord set to the degree of the scale of the chord you are harmonising. Like: Major 6/9 -> I, m7 > iii, Maj7 > V, 7 sus 4 > flat 7, maj7 sharp11 > II. Thank you Adam for the exceptional teaching. Really exceptional and valuable.
Teachers in the top jazz schools don't teach this stuff! So cool, thanks.
thankfully my teacher showed me this so im here
This channel is THE BEST music theory channel on the internet and it's not even close.
this is gold. The only issue I always have with this approaches is the processing that's needed in order to know what to play where and when.
Love it! I teach it including the 4th and 7th notes of the major scale, breaking the pure pentatonic sound. I love your point how it works on other chords like FMaj7, BbMaj7#11, etc. Keep up the great work!
5ed
I ran sound for a "Tooth" seminar at UW-Parkside and bought his best chord substitutions for standards book from him in the green room. What a learning experience that day was! Brilliant man! I also learned a lot today. Thank-you!
Short of words to express the gratitude for this unvaluable sharing of knowledge. Thanks !
I heard about Miracle Voicing 1 & 2 over a decade ago but I have no foggy where it came from. Thank you very much. I am not a Jazz Musician so it is very difficult to rewire my brain and orient my ears to this kind of sound. This is amazing.
Adam has the gift of teaching, love this stuff.
Pretty cool! Same concept that Dan Haerle uses with his Magic Motif, Magic Voicing System, applied to pentatonics. And you make it happen melodically! Thank you Adam for posting!
These are the "So What" Voicings in 5 inversions, very useful!
Top stuff. Thanks for this. I'm a guitar player so I thought it was funny when you said one of those voicings made you feel like a guitarist when you play it. I was thinking, makes me feel like a piano player.
"Pentaception" this is why I love u guys
This is fire! 🔥 thanks 🙏🏾
A journey through and development of "So What" sounds....into new atmospheres and places to enjoy and explore..... haunting....mixtures to delight the ear and stimulate the imagination.
great video Adam love your vibe as a teacher you are great at teaching this stuff! Love the mantooth style!
Double-checking I'm understanding how you determine the scale to use:
maj7 = pentatonic built on the 5th
min7 = pentatonic built on relative major (m3 of scale)
half-dim7 = minor pentatonic built on relative major
dom7sus4 = pentatonic built on b7
dom7#11 = Lydian dominant
dom7alt = dom7alt = alt scale built on tonic
Nicely done. The dom7alt voicings are upper major triads based on bVi or bV from the root, and can be inverted.
Thank you. Also : maj7#11 = pentatonic built on the major 2nd ?
@@sabahia That sounds right to me!
Excellent video!! I'll be linking to my students. As far as the Abmaj9(#5)/Eb, I think the voicing is (bottom to top):
R.h: E G Bb C Eb
L.h. Eb Ab C
Almost the exact same as in the video, just with an extra C in the middle of the R.h. Great stuff!
I did the whole Magic voicings system course. Loved it. thankyou.
your enthusiasm is contagious🤩 amazing video THANK YOU
Yes - it certainly is a rediscovery :-)
Debussy used them all the time in many different piano works, listen f.ex. to La Cathedrale Engloutie
So these are like power chords for piano
Great video. But it cuts off before the end.
Gorgeous voicings. I've come up with a hack to find these voicings faster. It may sound naive to those who have mastered pentatonic chords (which I haven't). These chords are always made up of a single major third, the rest being made up of just fourths, above, below or both. The trick is to locate the place of this major third, and fill in the rest with fourths above, below or both. For a m7 chord, for example, the target major third is 3-5, then fill in the rest with fourths above, below or both. All inversions can be found in this way, with the exception of the one where the third is arranged on either side of the voicing, which is then composed of fourths only (example Am7, third 3-5 = C-E, arranged E-a-d-g-C).
Eyyyyyy! I’ve been working on this in my own time too! 🥰🥰 amazing find! Thanks for sharing your fleshed out ideas on this!
Adam!!! You rule!!!!! :- ) Thank you very much!!!! Greetings from Argentina!
Open studio rocks!✌️
Hello from Lesotho
Great material. Great to see your process chord by chord. Thanks for posting this.
Bravo et merci
C’est la vidéo sur les modes penta la plus intéressante !👍👋👋
Great lesson, i bought the magic voicing book by frank mentooth but with now cd I was not motivated but now I'm back to square one and appreciate everything in this video. Thanks.
This is not an „easy way“ :-) das ist Kunst! Ich bin so beeindruckt!
Great stuff.
In bar 14 (2nd voicing), you wrote an F flat instead of an F natural.
Eye-opening!!!! Thank you so much!
Check out songs of Massaien. There is a lot of pentatonic planeing.
holy shit could this be the best modern jazz harmony lesson of all time...? I mean, you're right; if ya wanna know every pentatonic sub for every chord in any song the woodshed bill might get steep, but now individual tunes become susceptible to instant Herbie -isation... wowser.. Mick Goodrick's dense book (the advancing guitarist) had this stuff with both triad/bass note and pentatonic approaches explored but here we see the 'quartal' comping palette in real time... Absolutely brilliant lesson !
I LOVE THIS! SO BEAUTIFUL!
É muito difícil achar este material no Brasil, muito obrigado.
Wow, Game Changed!🔥🔥🔥🔥🔥
Merci beaucoup! Thank you so much !
Simply beautiful!
Just love it all !
great work ! Marcel from Poland ! I play guitar thank you !
My quartal system is almost the same as yours, but you could drop the root "C" a half step to B natural and proceed.
« Pentaception ». Works for me. Could have been a Lee Konitz 78 record. I have a few. 😊
This is similar to learning mode inversions. But with a tonal identity. I hope that makes sense.
wow......i think i know what im doin for the rest of covid..thanks Adam!
Thanks, Adam,
Guitarist here. Not the easiest grips to grab but still, VERY AWESOME! Lotta air in there.
Thanks, man.
Hey PJ Certo, another guitarist here. There are some difficult stretches on guitar without a doubt. I've been considering revoicing some of the chords, but also thought about dividing the notes into 2 guitar parts which would make all of this easier to do. Just a thought that I figured I could share with you. Haven’t had a chance to try it yet, so I may be wrong about this! 😅 Cheers
That chord in the second to last bar is a Calt / Eb
Awesome, Adam
This is gold.
I have a question regarding "way of thinking". When you play Am7, do you think about voicings from C6/9 pentatonic, or rather think about it in terms of notes from Am as a completely different system (so the first voicings that starts on 3rd of C, would be 5-1-4-7-3 in Am)?
I'm afraid that, if possible, your cap couldn't have hidden the keys. But, this lesson is incredible enough to improve one step further. Really appreciate.
This is hot stuff.
excellent video as always Adam! one question...what does "mantoothian" mean?
I think is much easy to transpose that chords to minor pentatonik then major pentatonik !
Very clear and useful instruction!!! The joy is coming across!
absolutely amazing, the name of this theme could be "DECODED chords" thanks master Adam. I have a dude in the bar 30, the tritone is A# - E, left hand
Franks book is great !!!!!!
Thanx, Adam🌹🌹🌹😎
Awesome stuff. Stupid newbie question: If I wanted to harmonize a melody, when would I use this pentatonic/quartal "magic" system as opposed to a Barry Harris 6th-diminished approach or something else? Or is the magic system not meant for harmonizing melodies? Thanks.
Depends what _sound_ you're looking for. Barry's stuff is also very hip. This will give you more "McCoy/Herbie" kind of voicings.
What’s your course about hand exercises and independence?
Great and thanks
This is awesome!
Awesome!
Could call this Magic Star Voicing System, since the notes would form a star if you graphed them around a circle.
Brilliant! The only thing that makes this difficult is the antiquated nomenclature(or syntax) we've inherited.
After watching this excellent analysis (thank you), I am still baffled why Miles Davis (according to his official biographer Quincy Troup) disparaged the playing of McCoy Tyner, especially since it seems that they had similar concepts around pentatoncity. Maybe it had to do with the execution; Davis claimed that Tyner "pounded' the keyboard. Perhaps it was personal, since Tyner went with Coltrane. All I know is that sitting at his right hand of one McCoy Tyner at the Howard Rumsey's Concerts By The Sea (Redondo Beach, L.A.) c. 1972 thanks to a field trip arranged by Professor Stephen Buchannan, I was transported by the spiritual nature of his art and was never again the same. For me, It's an Asian Thang that Tyner connected with epigenetically as channeled via his quartal harmonic voicings. It indeed was "magic," but of the human sort; not the Crowley-like black magicke of one, Miles Dewey Davis that he absorbed early days in East St. Louis through his politically well-connected and wealthy father and Prince Hall Freemasonry.....Quincy Troup don't dare touch that third rail.
Should the D in the F#7b9 chord should be a “E”?
Yes. See above.
I don't get why the Eb7sus is in Db pentatonic - is there a pattern for which key to choose?
⭐️⭐️⭐️⭐️⭐️Great video, and just in case you didn’t catch this spelling goof already:
there’s a rogue Flat symbol in Bar 14 Cm7 (should be F Natural)
Hi Adam this is cool. It transfers well to guitar as standard tuning is mainly in 4ths. I have a question through. Using your formula can the F-A-D-G-C from a F Major pentatonic and the B-E-A-D-G from the G Major pentatonic be used in combination with your chords from the C Major pentatonic to make a full C Major Scale?
Great stuff Adam! This is great information for practicing after analyzing it!
I'm old and it takes longer for things to assimilate. I don't understand how you determine Homes. Sixth measure. E.g., why is Bb the home for the AbMaj7#11? Thanks.
Is the D note in bar 10 missing a flat? I'm probably wrong about something...or it will be corrected in the next 30 minutes of the video.
At 11:00 we hear "almost bantuthian". What the heck does that mean???
So take the progressions from your favorite tune in the Great American Songbook, throw out the melody, write a head and call is "Pentascension."
Pentception rather than pentaception surely?
wow I'm more an instagram musician ahah but I had to tell you that this session is really awesome ! a lot of new sounds to integrate in my playing !! just one thing maybe I'm wrong but for the F#7b9 it seems like I should play F# and E instead of F# and D with my left hand... but I'm not sure...
also sorry for my english !
Hope you'll be able to answer me !
Yes, I think so too.. There's an E in the A# diminished scale, but no D. Unless there's a justification I'm not aware of for playing the D (apart from if it sounds good to you, play it).
This is pretty dense material. So the occasional glitch is to be expected.
Thanks, Adam. For sharing your wonderful musical gift.
Respect!
Take a shot every time he says "magic voicing system"
Also, thanks!
What is the key?
Pentatonic or the blue dots on the pink canvas?
Im gonna make a song with a c pentatonic melody and it will have the chords C6/9 A-7 Fmaj7 D7sus4 Bbmaj7(#11).
So what voicing the third one?
What's a voicing?
Thx, A! Question: In bar 28, shouldn't the Left Hand 'F' be 'F#' ?
You fixed it :-)
Every other note in a pentatonic scale..cool ..I met Frank Mantooth ..
Please please please explain how he gets the home keys! That’s not clear at all.
He works backwards from the chart on the left.
You made it pentatonical
Hi mate . Great stuff , thanks a lot .
Just a suggestion, can you make a shorter introduction next time pls ? I’m not trying to sound rude . Thank you
Parallel perfect-fourths with the bass are forbidden.
Anyone else getting "Maiden Voyage" vibes?
Go Cards!
Dolphin dance 😍😍
Anyone know what score-writing software he's using?
Soundslice!
@@gabethebabe8187 Nice. Looks like a lightweight alternative to busting out Finale, when you need something quick and easy.
0:03 "plracticing"
Ok, I admit ignorance. What do you mean by "mantoothian"?