Why I Use Inversions (and Slash Chords).
HTML-код
- Опубликовано: 8 сен 2024
- FREE PDF to follow along to the video - osjazz.link/in...
Practice alongside Adam (and hundreds of other players) in a fun, interactive lesson - where you can ask questions in real time and find fresh inspiration for your playing.
Ready to level up your jazz playing?
-------------------------------------------------------------------------
✨ Get started with Adam's NEW Harmony course for just $27 → osjazz.link/ha...
🔥 Unlock your FREE 14-day trial to Open Studio → osjazz.link/trial
ABOUT OPEN STUDIO
------------------------------------------------------------------------------------------------------------------------------------------------------------
As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey.
Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you’re a total beginner, or an advanced pro-level improvisor.
Try OS Membership today! → osjazz.link/about
I love that comment, "you can't 'information' you way to being a better player." I am certainly guilty of watching a $h!t-ton of RUclips videos about theory and composing and arranging and blah blah blah, which I soak up like a sponge in the moment, but actually sitting down and working through an idea like this, and getting into your hands and your brain, is so much more effective, meaningful and productive. Very much looking forward to more guided practice sessions, and thanks to all the Open Studio gang for doing what you do. 🍻
Listening to this makes me me so happy ...❤
Adam , I just love everything about your instructional videos . .. Starting the session with a gratitude meditation is such a beautiful and profoundly beneficial way to approach your guided practice session ( indeed ... it's an appropriate way to start anything ! ) The content is always relevant, practical and progressive but mostly it is the mood of enthusiasm and genuine love for music and for what you can share that makes your delivery so wonderful ..Sadly, my life for the last 8 years or so has not allowed me to play as much as I used to , or to have the privelege and luxury to be able to practice .. but I am managing to gain so much inspiration from your videos , just listening to them and following mentally, .. it is increasing my desire to want to again have my life consumed with playing, writing, teaching and recording music.. Thank you so much . Much appreciation to you
Yet another outstanding lesson, I couldn't buy the Fm till the Ab and Eb bass were there.
Man Adam you were killing in this one, and such an easy concept to implement. Thanks!
The timing of that first ad! Thinking about what we were most grateful for and deep breathing, and the effect was totally stunted by the ad algorithm!
Oh well, better get out that accordion!
Amazing! Thanks a lot for your gift!
Hey hey! I’m Nick, Yorktown, VA. I’m a guitar player. When I play minor 11’s I usually voice them like this:
m3, 5, 1, 4. FYI that’s just one inversion for minor 11’s a lot of guitar players use.
This is my first video of yours
thank you for such an awesome guided tour through bass inversions and slash chords. I had never known the difference between them. The various alternate versions that you did were very instructive thank you so much.
Thank you Adam. You do great to share your knowledge.
Thanks for this Adam!
38:08 this B/C (or eqivalent 7M/1) reminds me of the end of the chorus of "Anyone Who Knows What Love Is (Will Understand)" is a 1964 R&B song written by Jeannie Seely, Randy Newman, Judith Arbuckle and Pat Sheeran. It was recorded by Irma Thomas
The traditional classical theory explanation for not doubling the 3 is rooted in counterpoint. It's to avoid parallel octaves, which weakens the independence of the voices. The 3rd typically tends to "want" to resolve upward, especially when using dominant chords, where the 3rd is the leading tone. When orchestrating or arranging, even by traditional guidelines, parallel octaves act as one voice to thicken the sound.
I think there's more to it though. There's just something so resonant about a first inversion chord with no doubling.
The traditional theory explanation doesn't even really make much sense in jazz because jazz is more forgiving of resolving the 3rd downward.
Maybe pedantic, but I wonder why you don't say "bass line" or "bass movement" but instead say "root movement", even when we have non-roots in the bass? I think it might help to distinguish for learners especially in a lesson like this, when we have the root in the bass and when we have non-roots (inversions)
Just speculating here but, maybe it's because the bass could be being played by a completely different instrument?
@@americoperez810 sure, but I still call it a bass line if I'm singing it, or it's played by a bari sax, or a guitar, or on a synth. Whereas the "root" has a predefined place in every chord/voicing - and it's not always on the bottom (sometimes it's not even there at all, hence "rootless voicings")
@@camtaylormusic calling it a bass line is incorrect IMO unless that's what the note is functioning as. If it's not acting as a bass, then it seems misleading to call it a bass line. Just cuz it's on the bottom doesn't automatically mean it's a bass
@@camtaylormusic I also don't agree with your statement about Roots having predefined places. Any note of a chord could be a Root note.. just depends on the context around the chord
@@americoperez810 okay then we obviously have different experiences. For me, a bass line is the lowest melody part, often played by lower pitched instruments, providing foundation and voice leading at the bottom of the harmony. Maybe there is another word for this to distinguish it from all the rhythmic and other extra details that often occur in bass guitar bass lines in many musical styles, but for a chord sequence like C F/A C/G G, the root movement is C F C G (I IV I V) and the bass line is C A G G (1 6 5 5).
In a chord like F/A, I was pretty convinced the root was F (unless it's actually functioning as a voicing of some other chord) and the bass note A.
F-B-E is often used as a rootless voicing for G13, Dm6/9, Db7#9, or even A Aeolian or E phrygian. Adding a bass note can solidly one of those identities, but it doesn't need to. Then again that chord can also be F Lydian, and now it's not rootless.
Does that line up with your experience? Otherwise can you show me how the root can be anywhere in a chord?
thank you so much, promise I ll be back with some more
Thank you for the lesson!😊
Thanks!
Sir, you are a gent. In the name of the have-little, I thank you for rewarding this excelent teacher.
Thank you!
Timely for this guitarist trying to fill in on bass. Melodic/chromatic vs jumpy/rooty.
Thanks
Shelbyville TN
Ďakujeme.
Many thanks!
Michael from Trinidad
Johnmak Vung Tàu, Vietnam
MÉXICO
Many thanks for the session and the explanation! Any chance to get a pdf-file after the boradcast, Adam?v
Sioux City
NYC
👏🏻👏🏻👏🏻🙏🙏🙏
Zurich; next day
Amazon Brazil
Focus is way off, my eyes can't take it.
Holland
Holland and Oats
@@gilldavidmour4199 And Barret
Respectfully, whatever you're using to record is using a mediocre frame rate, so if you look at the video and watch the hand movements on the piano, it's stilted and not fluid.
I'm not complaining, but you could set it up better. It would be way better for the audience who's trying to learn.
This is just feedback to help you, and to get you more subscribers
Zrenjanin. Serbia