Hey Jeremy, it was lovely it meet you for a minute and hear your dynamic performance at the Rex in Toronto yesterday! Great tips here. A thought I’d like to maybe add on from a bassist’s perspective is that while the proper way to treat 2 and 4 (or the ‘hump in the beat’) can be pretty nebulous to talk about, the best way I’ve seen it put is that even in a bassline intended to be entirely legato, 2 and 4 are the ‘most’ legato. The emphasis isn’t in terms of volume but more that beat 2 is played with the intention of leading to beat 3 which is intended as more of a landing point. Same with 4 and 1. It’s part of why strong note choice can give the impression of swinging harder. Now I know that’s an assertion that’s pretty hard to prove but where I believe you can hear it is in where bassists on records leave clear air between notes or put a staccato beat as ornamentation. Especially in earlier recordings before bass gear got easier to make clear strong legato on. It’s almost never interrupting 2 to 3 or 4 to 1, and is instead setting those beats up to contrast even more by being more legato. I think about Israel Crosby or Ray Brown like you mentioned when I think of this. Pardon the rambling, but this stuff gets my brain going! haha
Jeremy were you just in Toronto yesterday? I was running by the Rex and almost got whiplash doing a double take by the window haha. I was like “Was that Jeremy?” Too bad I couldn’t catch the show inside, but you looked like you were having a blast!
@@JeremySiskind I have your Jazz Piano Fundamentals 1 and 2 and Piano solo volume, and they are great, and I have found so many issues I was looking for, partly because I'm a great Peterson and Tatum fan. By the way, in one of your last videos you talked about, I think, melody and melody connecting including target tones and enclosures, a valuable thing for me, cause I'm struggling a little with that at the moment. I thought, that was also an issue in the Jazz piano fundamentals book. But I didn't find it, at least not in that detail, maybe you did it as an extra thing only in video? I find this is too seldomly an issue in piano books and also in workshops, where it is mostly all about scales and chords.
Thanks as usual! Great kind of heads-up - things to think about for me (almost a beginning course for my students)! I have a gig this weekend with a vibes player and a singer (no bass or drums) so i'll try to be a dynamo with my L.H. bass!
Great material to study! Thank you. Could you explain us someday which interwal do you use in the the 6 point, when you are playing this percussive effect with pinky finger? Eighth? Fifth?
I do know a lot of times when guitarists play basslines, but do whatever your favorite guitarists do! Basslines on guitar have to be a bit higher than on piano...by necessity of the instrument.
Hey Jeremy, it was lovely it meet you for a minute and hear your dynamic performance at the Rex in Toronto yesterday! Great tips here.
A thought I’d like to maybe add on from a bassist’s perspective is that while the proper way to treat 2 and 4 (or the ‘hump in the beat’) can be pretty nebulous to talk about, the best way I’ve seen it put is that even in a bassline intended to be entirely legato, 2 and 4 are the ‘most’ legato. The emphasis isn’t in terms of volume but more that beat 2 is played with the intention of leading to beat 3 which is intended as more of a landing point. Same with 4 and 1. It’s part of why strong note choice can give the impression of swinging harder.
Now I know that’s an assertion that’s pretty hard to prove but where I believe you can hear it is in where bassists on records leave clear air between notes or put a staccato beat as ornamentation. Especially in earlier recordings before bass gear got easier to make clear strong legato on. It’s almost never interrupting 2 to 3 or 4 to 1, and is instead setting those beats up to contrast even more by being more legato. I think about Israel Crosby or Ray Brown like you mentioned when I think of this. Pardon the rambling, but this stuff gets my brain going! haha
Very cool! Thanks for this contribution and great to meet and hear you last night!!!
DYNAMITE! I've been playing piano and bass for over 50 years and I love the way you broke it all down so nicely!! Bravo!!
I forgot to pay even a little bit of attention to the bass line in your example, my jaw was dropped at your solo 😮
Your dynamic solo! GALA!
All jingles aside...all the books are great! Jeremy is a great jazz piano teacher and his books reflect it all. Deepest thanks!
Jeremy were you just in Toronto yesterday? I was running by the Rex and almost got whiplash doing a double take by the window haha. I was like “Was that Jeremy?” Too bad I couldn’t catch the show inside, but you looked like you were having a blast!
This was a great, dynamic lesson. Thank you, Jeremy!
I always learn something useful from this channel - it is so dynamic.
Thank you Jeremy 😊
Thanks! Enjoying the journey here, like Mel Brooks in Blazing Saddles, putting in the: “Work Work Work Work WORK!”
Yes indeed! Work, work, work, work, work!
Wonderful master class Jeremy! Thank you!!!!
Thank you Mr. Torah of Awakening!
Great idea: the exercise refering to coordination with different rhythm in the right hand!
Awesome, Chris! I hope you're well!
@@JeremySiskind I have your Jazz Piano Fundamentals 1 and 2 and Piano solo volume, and they are great, and I have found so many issues I was looking for, partly because I'm a great Peterson and Tatum fan.
By the way, in one of your last videos you talked about, I think, melody and melody connecting including target tones and enclosures, a valuable thing for me, cause I'm struggling a little with that at the moment. I thought, that was also an issue in the Jazz piano fundamentals book. But I didn't find it, at least not in that detail, maybe you did it as an extra thing only in video?
I find this is too seldomly an issue in piano books and also in workshops, where it is mostly all about scales and chords.
A dynamic diversion for my jazz convertion.
Came bcos of the solo. Stayed for that solo!!! Daummm!!
I hope you have videos teaching how to solo on this channel!!!
Great video. Numbers 5 and 6, in particular, demonstrate dynamic baselines.
Awesome, Don! Thanks for watching!
jeremy i love how you accept the crazyness and dynamite properties of being a business man but still keeping it chill.
Business?! I'm just tryin' to play jazz piano! 😜 Thanks, Dagadbm!
Great tips dynamo!
😉 Thanks, Mr. Walsh!
Well i didn't need the jingle :p. I bought book 1 based in your tunebase video and it is great. Greets from Belgium !
Thanks as usual! Great kind of heads-up - things to think about for me (almost a beginning course for my students)! I have a gig this weekend with a vibes player and a singer (no bass or drums) so i'll try to be a dynamo with my L.H. bass!
Great content & examples..TY!
Fantastic. Your're jazz piano books are dynamite!
Bass Patterns:
ruclips.net/video/S0OaXfXGX-E/видео.html
That intro made me happier than I was at the moment haha
Great stuff, the range/register aspect is crucial. And not talked about enough.
Yes! It's so frustrating hearing pianists play basslines too high. it's so easy to fix! 🤦
Dynamite ideas from the master!
Great material to study! Thank you. Could you explain us someday which interwal do you use in the the 6 point, when you are playing this percussive effect with pinky finger? Eighth? Fifth?
I usually play either the root or fifth of the chord.
@JeremySiskind Thank you
Thanks Jeremy, you're a dynamo!
Hello jeremy Dynamite thanx for your content i'm guitarist i had never consider bassline realy essentiel for guitarist but maybe im wrong?
I do know a lot of times when guitarists play basslines, but do whatever your favorite guitarists do! Basslines on guitar have to be a bit higher than on piano...by necessity of the instrument.
Listen to Joe Pass solo albums.
We have a dynamite dynasty of dynamic bass players from which to learn
You're Bebop improv is dyn-o-mite.
This video is dynamite 🧨
Left hand bass, right hand chords: the Dynamic Duo.
Where can we learn this? haha, you have a video?
👏👏👏🙏🏻🙏🏻🙏🏻
🧨
Wooohooo! Thanks, N-J!
Jeremy, would you be interested in feedback on your books? (Feel free to say no!)
🧨🧨🧨
Just do whatever Dave McKenna does 😊
I thought it was because, I suck at writing bass lines.
🦖
Dinosaur?! Not dynamite!?
dyno
step 1, sober up xD