of all the teachers and classes I had in the 2 years and a half at MI I learned everything I play today from my once a week private with Kevin. He is the best teacher I've ever had.
Roberto & David, Since Kevin is seemingly “off the grid,” when you were studying with him at MI, did he recommend any specific books with regards to the pentatonic approach?
Kevin king was my Ear training and music theory teacher at MI. After watching this, I clearly remember why I was so intimidated by him lol! Such a great teacher with an incredible mind! Thanks for sharing!!
Nikolay Koltsov. Thank you. Kevin was a burning teacher in Musicians institute. I don’t have news from him unfortunately. I’ve learned a lot from this person. I ‘m telling you. This is the only video I have unfortunately
Good stuff! Though I'm hearing E F# A B for the 2nd half of the first bar - this makes it sound a little more abstracted and quartal (E sus-ish) , rather than the E major sound (E F# G# B). Thanks for posting!
This is amazingly valuable! I'd love to hear more about which other outside scales can be used in different contexts and why. I know you can capture some really nice chord tensions by using specific pentatonic scales at different intervals from the root and you can create altered pentatonic scales but I want to know more.
Hey man, I've been looking into this for a long time too. I would try looking into the altered tones/scale, and the diminished scale as well--they seem to capture most of the other sounds that I hear in records. Good luck!
Really, if you use very strong sounds like pentatonics, triads, fourths, sus4 shapes, sus2 shapes and start doing very "easy to hear" patterns, like sequencing, repeating, etc.. you can make some reeeally hip outside lines. Alot of the good players just think like that too, like theres no recipe but the ears. I think the trick to it is to use "easy to hear" structures, but superimpose them in outside harmony, most important thing is to land back in key ofcourse. And godamn, pianists have the privilege to harmonise what they do with the left hand using upper structures while the bass player does his job, ooof, thats gonna make some stank faces.
@AlejandroGjezi-jm9gf Yeah I didnt mean 100% by ear of course. My point was that you can literally play anything "outside", using your creativity and minimalism. These methods you mentioned are nice. Sometimes the simpler the ideas the more hip they end up being. In my experience atleast. And above all, make it rhytmically super solid. This is just my subjective way of seeing it ofcourse
Wow, 21 years later and I still can't play any of this stuff. I think I went to this class once and then was like nah, I'm gonna go look at the girls in VIT. hahahah!
Thanks for sharing, David!! When did you record this thing..? Were we even allowed to? Well it doesn't matter. I Love it! Wow, Kevin King! I miss him!! Want to go back..
Can summarise the theory of this amazing teaching please. I understand what playing outside as being playing notes outside the scales. Is it to do with modes?
There is no title, it's not a "song," they're just improvising all of it for the most part. They were listening to some Herbie Hancock music in the beginning to get a taste for it.
Isak Hungnes This 2 hours is already a summary actually. Sorry about that. It seems really clear according to me. Kevin is giving the exact scale to play outside. Up a minor third. Simple. No ?
The pentatonic scale of a minor third up. He also mentioned playing the major scale of a tone up, over a minor chord (i.e. E major over D minor) if I understood right.
Cole Sainburg their was missing information wasn't being anything but inquisitive about the lesson we jazz/ slash Bebop players have a sense of humor it's something your born with go practice your flute...😎
Cole Sainburg. Everything s working out of the tonality actually. It depends on your rythme and intention. Let s go Crasy. Try an major E major scale over a Cm tonality. God, it s burning ! Try this
@@dayom13 OK, but before I do, I should say that beauty really IS in the eye (or ear, or heart) of the beholder, and everyone should make (or appreciate) any art that makes them happy, regardless of anything I say. Now, regarding my prior comment. . .to me, most (but not all) conceptual art seems to be primarily a testament to the artist's fascination with their own cleverness, and is mostly "expressing" a desire to be appreciated a certain way. I am suggesting that a lot of "conceptual art" is essentially, pretentious ego masturbation. Really light weight stuff. Of course, pretending, and masturbating, make many people happy, so as long as it hurts no one, why not! Right ?
@@redseaboy829 No "style" of music can be accurately summed up "as a whole". All musicians (regardless of style) can experience both the deepest connections with their art, and the most shallow, superficial, and pretentious excuses for that art. My comments were about musicians mistaking broad conceptual goals (like playing "outside") for real musical goals (ideas), which are not broad concepts, but are VERY SPECIFICALLY rhythmic, melodic, and harmonic. Dig ?
@@redseaboy829 No apologies needed, Boy. I wasn't attacking your teacher (I'm sure he is good), and I respect your readiness to defend him. Kudos to you both. I always advise my students to study, practice, and assimilate all of the many useful concepts that they can. I also advise them to approach their improvisations with a completely OPEN state of mind, and most importantly, to play specific ideas sourced from their imaginations (and the ambient energetic environment), and to do all of this COMPLETELY WITHOUT EXPECTATIONS OF ANY KIND, because there is MORE there for us (in our imaginations and environment), than we are even capable of expecting. And most of all. . . ENJOY your music. Play on, Boy. . . . . . .
@@redseaboy829 Remember, the lives we live, and the music we play, are made of the ultimate indivisibility of ALL material and energetic processes. When you are OPEN, you allow the whole UNIVERSE to play. . . . . . . .
![Megan Thee Stallion - Roc Steady (feat. Flo Milli) [Official Video]](http://i.ytimg.com/vi/HozPPyqW0dY/mqdefault.jpg)
Wow! Fabulous teacher. Jazz 'outside' instruction with a little bit of Jim Carrey thrown in. Very inspirational, thanks.
Kevin was my teacher at MI! He taught me so much. I really appreciate that brotha! Thanks for posting this. -LB
of all the teachers and classes I had in the 2 years and a half at MI I learned everything I play today from my once a week private with Kevin. He is the best teacher I've ever had.
The best teacher I ever had. Thanks for him robert
Roberto & David, Since Kevin is seemingly “off the grid,” when you were studying with him at MI, did he recommend any specific books with regards to the pentatonic approach?
I will be watching this over and over
MI has some of the Greatest teachers on the planet..Love M.I.
Man this video just lit a fire in me. gotta watch it again.
Kevin king was my Ear training and music theory teacher at MI. After watching this, I clearly remember why I was so intimidated by him lol! Such a great teacher with an incredible mind! Thanks for sharing!!
Kevin taught me too!
I think it's the best video I've ever seen on RUclips. Thank you!
Nikolay Koltsov. Thank you. Kevin was a burning teacher in Musicians institute. I don’t have news from him unfortunately. I’ve learned a lot from this person. I ‘m telling you. This is the only video I have unfortunately
Hi I would like to have some lessons to learn how to improvise outside like this. Can you help?
Whoa, is this guy cool, or what? A great teacher and player, with brilliant energy. Why isn't he famous?
Who says he isnt😏...trust me
This is more than worthy of my clinic folder!😎
el mundo necesita mas videos de keving king por favor 🙌🙌🙌
Good ole Kevin!
The Henry Winkler of Jazz Piano :)
Hahahahaha😂😂😂
I was looking for this and happy to find ! Big Thanks Kevin !
C’est moi qui film ce cours la ???
Lol!
Énorme , en plus t’as eu du succès !
J’avais même pas vue !
Merci David !!
😚😚😚
Had this teacher in 1995 at MI he was very cool .
Thanks for posting
This is awesome! Thanks!
Good stuff! Though I'm hearing E F# A B for the 2nd half of the first bar - this makes it sound a little more abstracted and quartal (E sus-ish) , rather than the E major sound (E F# G# B). Thanks for posting!
Without words ,terrific
Enfin une vrai video!! Merci..
this is gold!
this is just WOW...thnk u...
Dis man is needed in this modern time . Awesome lesson ...
Some people are really outstanding.
7:11 catched my ears. Outside study is gonna take my next years
0:54 Looks like the key center is Fm (not in Ebm - as Kevin says)? Bassist plays Eb-F (b7-I). And the melody sounds in Fm.
So the outside is Ab pentatonic
Very impressive! You have more of thisß
This is amazingly valuable! I'd love to hear more about which other outside scales can be used in different contexts and why. I know you can capture some really nice chord tensions by using specific pentatonic scales at different intervals from the root and you can create altered pentatonic scales but I want to know more.
Hey man, I've been looking into this for a long time too. I would try looking into the altered tones/scale, and the diminished scale as well--they seem to capture most of the other sounds that I hear in records. Good luck!
Really, if you use very strong sounds like pentatonics, triads, fourths, sus4 shapes, sus2 shapes and start doing very "easy to hear" patterns, like sequencing, repeating, etc.. you can make some reeeally hip outside lines. Alot of the good players just think like that too, like theres no recipe but the ears. I think the trick to it is to use "easy to hear" structures, but superimpose them in outside harmony, most important thing is to land back in key ofcourse. And godamn, pianists have the privilege to harmonise what they do with the left hand using upper structures while the bass player does his job, ooof, thats gonna make some stank faces.
@AlejandroGjezi-jm9gf Yeah I didnt mean 100% by ear of course. My point was that you can literally play anything "outside", using your creativity and minimalism. These methods you mentioned are nice. Sometimes the simpler the ideas the more hip they end up being. In my experience atleast. And above all, make it rhytmically super solid.
This is just my subjective way of seeing it ofcourse
At LAST this makes sense. Thank you
Barbara McM Kevin is clever
Puree j'ai rarement vu un prof enseigner avec autant de clarte ! Ca dechire!
thanks for the upload
Wow, 21 years later and I still can't play any of this stuff. I think I went to this class once and then was like nah, I'm gonna go look at the girls in VIT. hahahah!
+heyraf Crasy Raphaël !!!! 😄. You didn't change. Stay as you are !!!!
A fine musician and excellent teacher! I learned a lot from him, though I was never at this level. I wonder what Kevin is doing these days.
Robert Wilks he’s been teaching in the La area sadly moving to Texas
I’m looking for some info about Kevin but no more results
Paul Jackson played bass in head hunters.
what is this tune?
any idea what song they are transcribing. Cant get anything from Shazam or Google assistant
This teacher is amazing, do you know where is he now? I can’t find anything about him or his music...
roman13rooms he’s moving to Texas he was living in the LA area
Abe Hidalgo does he have any type of social media or anything?
I’m looking for info too! But no more results online
Thx to the genius Mr. Coltrane!! A warm thank you for posting this briljant lesson! Whats the year?
I was like"...nah just use that right there" lolol. 2:48 This dude is dope who is he?
Thanks for sharing, David!! When did you record this thing..? Were we even allowed to? Well it doesn't matter. I Love it! Wow, Kevin King! I miss him!! Want to go back..
Contact me, I've finally perfected the time machine.
I've never seen this great teacher before,Anyone can tell me please (video ,website ...etc).again,thanks for sharing
snap - cant find much on line about him either :'(
Hi David, hope all is well. Do you know if this guy gives lessons online?
When I reached 00:06 it took me 3 more seconds to understand that I’ll never play like this 😞
Hi David, from which tune is the Herbie solo? Cheers, Uwe
Can summarise the theory of this amazing teaching please. I understand what playing outside as being playing notes outside the scales. Is it to do with modes?
Which music did he use for exemplar? Name of original song?
What's the title of the beginning tune? It's jeff lorber but I can't recognize the tune
Does anybody know where this guy is now? Does he still teach somewhere?
The class I was looking for ... Does anyone have this master's contact?
This is my 20-th watch
Can anyone sum up the scales in this lesson for out? Too much info here
Any jazz piano teachers in South New Jersey ?
It is necessary for the ear to pick up speed first
Never mind who's playing bass.
Its Paul Jackson
Hi David, is there any info about the master online?
What's the name of the tune??
12:10 damn.
Please tell me the title of this song.
There is no title, it's not a "song," they're just improvising all of it for the most part. They were listening to some Herbie Hancock music in the beginning to get a taste for it.
Sam Chaney no, at the beginning is a song by Jeff Lorber. His improvisation just happens to sound like Herbie’s
@@victorgerardmelendez6323 are you sure this is Jeff Lorber? I can't trace it back to any of his songs.
I know it’s not Herbie, but sure doesn’t sound like Lorber either…
who is playing in the beginning?
Alex Fedoseyev JEFF Lorber actually
Wow. I thought he is more classic)
The video guy should have bought a tripod.
Could anyone summerise?
Isak Hungnes This 2 hours is already a summary actually. Sorry about that. It seems really clear according to me. Kevin is giving the exact scale to play outside. Up a minor third. Simple. No ?
The pentatonic scale of a minor third up. He also mentioned playing the major scale of a tone up, over a minor chord (i.e. E major over D minor) if I understood right.
Correction on the last point; I think he meant just the major arpeggio of the II over the minor root i.
correct!
What is the concept here...
Gerald Davis using 2 pentatonics scales to travel inside and outside the harmony on a minor vamp.
Which two scales smart guy
Gerald Davis you're welcome. Ebm and Gb minor. Go up a minor third to go outside.
Cole Sainburg their was missing information wasn't being anything but inquisitive about the lesson we jazz/ slash Bebop players have a sense of humor it's something your born with go practice your flute...😎
Cole Sainburg. Everything s working out of the tonality actually. It depends on your rythme and intention. Let s go Crasy. Try an major E major scale over a Cm tonality. God, it s burning ! Try this
It's easy, you just have to practice 15 hours a day for 10 years while constantly imbibing great players and concepts. Hahah
hahah
Terrific teacher.
There's a place for conceptual art, it's home alone, in the bathroom with the door locked.
Your words are philosophy. Can you tell more about this ?
@@dayom13 OK, but before I do, I should say that beauty really IS in the eye (or ear, or heart) of the beholder, and everyone should make (or appreciate) any art that makes them happy, regardless of anything I say. Now, regarding my prior comment. . .to me, most (but not all) conceptual art seems to be primarily a testament to the artist's fascination with their own cleverness, and is mostly "expressing" a desire to be appreciated a certain way. I am suggesting that a lot of "conceptual art" is essentially, pretentious ego masturbation. Really light weight stuff. Of course, pretending, and masturbating, make many people happy, so as long as it hurts no one, why not! Right ?
@@redseaboy829 No "style" of music can be accurately summed up "as a whole". All musicians (regardless of style) can experience both the deepest connections with their art, and the most shallow, superficial, and pretentious excuses for that art. My comments were about musicians mistaking broad conceptual goals (like playing "outside") for real musical goals (ideas), which are not broad concepts, but are VERY SPECIFICALLY rhythmic, melodic, and harmonic. Dig ?
@@redseaboy829 No apologies needed, Boy. I wasn't attacking your teacher (I'm sure he is good), and I respect your readiness to defend him. Kudos to you both. I always advise my students to study, practice, and assimilate all of the many useful concepts that they can. I also advise them to approach their improvisations with a completely OPEN state of mind, and most importantly, to play specific ideas sourced from their imaginations (and the ambient energetic environment), and to do all of this COMPLETELY WITHOUT EXPECTATIONS OF ANY KIND, because there is MORE there for us (in our imaginations and environment), than we are even capable of expecting. And most of all. . . ENJOY your music. Play on, Boy. . . . . . .
@@redseaboy829 Remember, the lives we live, and the music we play, are made of the ultimate indivisibility of ALL material and energetic processes. When you are OPEN, you allow the whole UNIVERSE to play. . . . . . . .