Swing Eighths Deep Dive Baiscs and Deeper Depths
HTML-код
- Опубликовано: 7 июл 2024
- ✅ Buy Jeremy's book 📚 at www.jeremysiskind.com/shop/
✅ Buy me a coffee! ☕️ bmc.link/siskindpiano
✅ Schedule a lesson 📆 w/Jeremy. Save $5 w/code RUclips: rb.gy/fatrw
✅ Sign up 📝 for Jeremy's mailing list at eepurl.com/geqUkz 
Видеоклипы
![Eminem - Tobey (feat. Big Sean & Babytron) [Official Audio]](http://i.ytimg.com/vi/9xn0OHEZZ8Q/mqdefault.jpg)
This channel is such a goldmine! I’ve been shilling this channel to all the piano majors at my college, hopefully more people will discover you Jeremy!
That’s so kind! Thank you!!!!
I was about to comment how much of a goldmine this channel is and the first person I see commenting says exactly the same. Glad to have great teachers like you readily available to teach more jazz! More jazz more fun!
As a tiny extra thank you note; every time I've watched one of your videos, I'm inspired to try out or practice more on the piano right away. Very grateful for that :)
I'm honored, Garrett! Thank you so much!
I'm so happy I foud your channel. I also have two of your books. (Playing Solo Piano and Jazz Piano Fundamentals) Because of you I want to pratice more and my understanding of music as a whole with an emphasis on jazz is much better. Thank you.
Wow, Ellis, that is so nice. Thank you!!!!
A great help. Thank you!
Fantastic! Thanks for watching, TS!
Great octuplets, Jeremy; thanks!
Many thanks, John!
Octuplets….dude! I struggle so much with this….thanks!
Loco buen swing y octillizos, Jeremy!
Haha, thanks for the comment, Ken. Thanks for watching!
Thank you Jeremy. It is really a very good lesson.
Michael
Thanks, Michael! I appreciate it!
Can you please do a tutorial on shredding over Donna Lee!? Great vid by the way, never heard of the thumb pinky accent idea, I’ll give it a whirl. But yeah, the 16th (or rather very quick straight 8s) lines that your improvising over Donna… I’d love to hear your thoughts on how to construct long unbroken lines at fast tempos over bop changes. It seems to me that the “rhythm” here (even though every note is the same subdivision) is primary heard by the changes in direction, and changing direction on the off beats in particular is a way that the jazz offbeat sound is preserved even when the subdivision is now straight and the accents aren’t specifically geared towards the offs. Also I think odd note groupings, like playing C D E, D E F, E F G, - even though they’re all 16ths, you hear that as a kind of 3 over 4, because the groupings and direction changes after every 3rd note. Kinda of like “melodic phasing”.
Anyways I’m rambling… thanks again for the vid and all your great content :)
Hmm, not sure I've got something for you on Donna Lee. Maybe you'd like this: ruclips.net/video/OkzDaXiFSgM/видео.html
Excellent video, thanks a lot Jeremy !! Would you indicate any tune to listen and imitate in order to improve my swing?
Well explained, Jeremy! I've heard various descriptions of swing eighths in the last fifty+ years, none as comprehensive as this. One suggested that counting the metronome at beats 2 and 4 would help to lighten the swingishness (farmer in the dellness). Not sure that works. Anyway,
Happy New Year!
Thank you so much, John! I think practicing wtih the metronome on 2 and 4 is a great idea!
Just ordered the Solo book. Octuplets in the LBC!
Excellent! So long as it's not my wife having the octuplets, I love it! 😂
More quality teaching! I always wondered why some other jazz teachers say not to use swing eights. I can see now that they are usually faster players (Barry Harris style) and the tempo is suited to straight eights with those accents you played to keep it jazzy. Mystery solved!
Never heard of a jazz teacher who says not to use swing eighths. Are you sure it wasn't a tazz jeacher? Yes, the faster one plays the more even the notes tend to become; nevertheless swinging eighths is the norm, and even fast notes have syncopated accents.
@@sheilamacdougal4874 Because swing eighths aren't the result of simple triplet. Jazz is polyrhythmic. There's more to the feel than the eighth note triplet--there's the quarter note triplet, half note triplet, and a slew of other tuplets. Then there's the butter when you offset all those polyrhythms from their traditional starting point. Barry knew about this too--listen to him talk about conceptualizing ballads in 6:4 when he sings with his choir. Look up Mike Longo, and then look up the West African drum tradition ;) Shame that we can talk for ages about chords and scales, but rhythm is often marginalized as an after thought.
@@pickinstone Quarter note triplets or half note triplets: do you mean notes written as equally valued that should be played with a triplet feel? So what? That's just an extension of the eighth note swing method; it's not a denial that one should swing eighth notes (which is what the post I was commenting on appeared to say). Similarly for your comments about other rhythms, which are irrelevant to the point at issue. What is true is that many jazz musicians swing eighth notes without playing precisely tied triplet pair, single triplet, tied triplet pair, single triplet. The 'single triplet' is slightly longer than a triplet, the tied pair slightly shorter than a pair of triplets. Bird sometimes plays the eighth notes almost even, but still swings them beautifully with the accents.
@@sheilamacdougal4874 I mean that you feel the quarter note triplet and half note triplet pulse in your body as you play anything in your mind's eye--straight quarter notes, eighth notes, whole notes, etc.
Many people get polyrhythm wrong. You're not practicing 3:2, 3:4, 5:4, 7:4 just to play those figures on the bandstand.
The true reason behind practicing polyrhythm is so that it becomes so internalized, that you feel that poly pulse in your body as you play any figure. As Mike Longo used to say, jazztime is three-dimensional. Jazz time doesn't just live on the page--there's hidden layers of poly rhythm underneath the eighth note.
That's the African thing that we often overlook in jazz pedagogy. Oscar Peterson had that pulse--so did Wes Montgomery, Bobby Timmons, Dexter Gordon, Cannonball Adderley... to name a few.
Time is never dictated one dimensionally as straight or swung--as you play faster, you feel the 3:4 to feel the lilt instead of approximating it. That's why jazz is a hot mess when you try to notate it. Look at transcriptions of Charlie Parker playing at any tempo. Odd groupings, poly rhythms, 32nd notes--he didn't just go "I am gonna play a half note triplet line here." Those rhythms were actually part of the pulse--the rhythmic polymetric sandwich that resonated within the genius of Bird.
As Levar Burton once said, "Don't take my word for it." I'm just a random RUclips guy. Rather, do yourself a favor and look up Mike Longo (RIP). He was Dizzy Gillespie's pianist right before Diz died. There's a lot more to jazz feel than "straight" or "swung."
Thanks for the comment, Drunken Boat Captain! Eighths are like a fingerprint for jazz musicians and everyone plays them slightly differently. In some tempos and styles, the eighths are quite rhythmically straight. But, I believe most students need to get the feeling of swing first before trying to "swing straight eighths."
It don't mean a thing if it ain't got that... Happy New Year.
INdeed! happy new year to you!
😅😅😅 love you much
Thanks much for watching, Mai!
Not sure about legato. I used to play legato but moved away from it, not all the way to staccato but somewhere in between. Wasn't trying to imitate Chic, but more the fifties pianists as I heard them: Al Haig, Red Garland, Wynton Kelly, John Lewis, Lennie Tristano, and possibly some horn players.
It's a bit more complicated than "always play legato," but i find that for most students, playing legato solves a lot of articulation problems.
@@JeremySiskind Interesting, I'll bear it in mind.
Octuplets is a scary word (8 children at once!) but this video was great!
Thanks much, Chapin Jazz!
😂😂 thanks a lot
My pleasure, Mai!
i bought all your books to help you out. Just havent had the time yet to actually start doing them . i love the despair "plug plug plug, money money money, etc". god this capitalist world...
Yeah, it is a capitalistic society out there...but hopefully in my world that just means "making things that people like." 🤷♂ Beyond that it's too depressing haha.
Very nice.
I'm curious, have you seen Aime Nolte's video "Phrasing That Freakin Swings?" She has some interesting thoughts about accenting the off beats. It kinda seems like she disagrees with you on this (don't shoot me, I'm just the messenger!). Let me know your thoughts if you see the clip!
I haven't yet, but Aimee's one of the smartest people and best teachers out there!
I wonder if there is a conflict between accenting a top note and avoiding accenting a note on the beat. Would you say on occasion it's worth accenting a high note even if it's on the beat?
I think these high/low accented notes should sometimes be on the beat, sometimes off the beat. If the top note of a phrase is always on the beat, you probably have a problem with your bebop lines!
@@JeremySiskind Heheh, true. I don't think I have that problem but I'll look out for it, cheers.
Great stuff!
I made a long essay about this concept (time/phrasing/swing feel etc).
Some here might find it interesting.
Hope you don't mind if I post the link in the comment below.
I don't mind! Thanks for asking!