How often do you come across an incredible musician and an unbelievably insightful and skilled teacher in the same person?! This is so helpful and fun to watch, everyone should be exposed to this, not only people who are trying to play jazz
I'm gonna learn to play Donna Lee on my pedal steel guitar when I try my.new MSA. I love to learn from you great pianist and apply what I learn to the PSG. Thanks ken
Thank you once more Kent ! I work as a teacher (not music) and I really appreciate your way of helping "students". Inspirnig both musically and as educational method.
Great video thanks. When I was younger I use to work on this but I never use to put enough effort into playing with the left hand and improv over the left hand. Now I'm totally out of practice with jazz but this is inspiring me to polish up my 'chops' again.
Thanks.. That makes total sense. I am trying to get comfortable with the minor and major blues scales in all 12 keys.I am very comfortable in the C F G A E Bb Eb Blues. Today, while practicing, blues in all keys; I had a few epic fails in keys like F# and Db. I will be looking into those video. Thank you again.
As pianists we're not so good in playing in the keys with the most sharps and flats. Working with singers helps...also playing classical repertoire works,,...but who wants to spend all that time required!!
@@KentHewittpiano88As a guiarist we have a tendency to avoid flats. The Way the guitar strings lay out. EADGBE favors the sharp keys an C in open position. I notice this a while back and also that I had tendency to favor some more than others. I recently gave some thought to this. I have always shirked playing in keys like F# or Db. I could play in them but I could tell it was lack of practice. So lately, A good reason to play in all keys is that if a song modelates.for instance Chistmast Carol's. I recently had to down load 8 songs for Christmas. They go all over the place...That's not counting jazz songs like the Chistmast Song done by Mel Torme and Robert Wells. Even though it's in C, it has chords like F#m7-5. So it occurred to me he more keys I played in it would become natural and of xcourse help with note reading. Btw you suggested on Georgia to play Fmaj 7 then Emin 7b5 . I play it now with the A7b9 It sounds great. I also used to play a F bluesover this, but now I use D blues over it I found that it by accident. When Hoagy wrote this he used that scale alt. The best
@@KentHewittpiano88 my honour , your mastery of the piano and jazz is inspiring . I listen to your recordings for hours and anyone who sees this should do themselves a favour and check out Time on my hands and all the classics you play with the trio . Excellent stuff .
Nice one Kent. I enjoyed the little take off just before the wrap up. It's a great pleasure watching your videos. I'll keep faithfully watching them. All the best from Paris.
That's a great start...keep at it! Just go through my videos and score at a good pace...one at a time.Check this: ruclips.net/video/07Qlhd_-p0s/видео.html
Nice exercise. Downloaded exercise and I'll see how well I can master it. I have always LOVED be-bop (Oscar Peterson, et al) but never practiced it because it seemed so daunting (probably the speed). Your video made me think it's doable for me. Lots of great lead sheets and exercises to practice on your website. Thank you so much!
Thanks for telling me, and for the affirmation. You can also slow down the speed of any video without changing the pitch...just go to the settings logo below any video. Let me know.!
It is a great video! In fact, it is just what I was looking for! I am very impressed with all your videos! And your website looks good as well. Thanks for sharing! I'll give it a go and will let you know how it's going for me - a beginning improv'er. Rene
RRTheN00bPwner Thanks so much for such a nice comment. I thought this video could be very helpful to the right persons, so I'm very glad it works for you. Also I'm very happy you like my videos; did you subscribe?
Ah ha.... The Charlie Parker tutorial you mentioned Kent! Excellent exercise for helping to get my Be-Bop up to speed... Thank you so much for all your postings..clear and easy to follow. I'm so glad I can download and slow down though ... My brain can keep up then...never mind my fingers:-)
+davidjohan99 Thanks so much for the comment. I'm glad I can help and esp. since you are able to slow down the video. I try to be clear.... but it's not so easy to slow down. Please check out my other videos on Be Bop and Charlie Parker tunes, especially the Yardbird Suite vid. I'd be very interested to hear your opinion.
Kent, I know this video is ancient but I notice that on the B7 before the ii-V-I you use a C major arpeggio and it sounds really sweet - why does that work so well harmonically? I hear it all the time in things to the point I throw it in when I have the opportunity but I don't "get" it ex. 5:54
I think you mean the Bb7 chord. The C major arpeggio against a Bb7 chord adds the 9th , #11, and 13th to the Bb7 ...so it sounds great with those upper structure harmonies. You've got to be sure you have the 3rd and 7th the left hand..
Is this a good way to think about latin(I may be mistaking this for another style) beats? 1-2-3-4-and-1-2-3-4-and... where the fourth is the eighth note? or is it better to think of it like 1-and-2-and-3-and-4-and, just counting the first 3 off beats(ands) as rests. Perhaps I haven't listened to enough latin music to understand, but when I search up latin music or latin composers I usually just get music actually IN latin, not the style. Could you name some big hot shots in the latin biz? Finaly question, what are some other stylings of jazz music? I've only heard of jazz, latin, and bebop and the latter two I barely know at all. Thanks, love your videos
Thanks for the comment. If you listen to the drummer, the Bossa Nova rhythm is downbeat on 1, up of 2, down of 4, then (next measure) down of 2 and up of 3. I would need to explain this in a video to make it all clear. Cal Tjader is one of my personal favorites for Latin jazz but there is more authentic Latin if you prefer. Other jazz styles are Dixieland, Swing, Big Band, Fusion, Jazz Waltz, Third Stream, Funk, West Coast, Hard Bop, Soul Jazz, Gospel Influenced, and etc.
I just receivd ur msg and i can say im pretty happy i discovered ur videos i rly enjoy these kinds of tutorials specially bebop jazz ones thank you very much.
+Bernardo Semião Thank you, I'm glad you responded to my message...it is very gratifying to know that this video is helpful because the exercise was useful to me, so I'm passing it along.
I use a Seiko. Just Google search metronomes and there's lots of choices. Mine here: www.amazon.com/SEIKO-SQ50V-SQ50-V-Quartz-Metronome/dp/B000LFCXL8/ref=asc_df_B000LFCXL8/?tag=hyprod-20&linkCode=df0&hvadid=312176484647&hvpos=&hvnetw=g&hvrand=5408848040650378824&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9010123&hvtargid=pla-633098164792&psc=1&tag=&ref=&adgrpid=62521174299&hvpone=&hvptwo=&hvadid=312176484647&hvpos=&hvnetw=g&hvrand=5408848040650378824&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9010123&hvtargid=pla-633098164792
Exquisite lesson that I'm definitely going to commit to learning. It sounds so good and looks like a lot of fun to learn. I'm having trouble finding the fingering tutorial on your website. Can you possibly provide a more specific link? When you went to the full 100 BPS, this number reminded me of something my father played called, "dizzy fingers" by Zez Confrey.
Thanks for the comment. All scores are under the heading Free Music Downloads and they are in alphabetical order. Here's the link: storage.googleapis.com/wzukusers/user-26455100/documents/586594b34cab9pAzUF2a/Donna%20Lee%20w%20fingerings.pdf
I've got most of this song down at full speed. It took awhile. Trying to unlock the different nuances of this song. Off the Abmaj7..it looks like it goes to a F bebop mixolydian. Notes. F E Eb D C AC Eb F. I see some of the notes as extensions..R 7 b7 13 5 11 3 5 b7 R..then it goes to Bb7..it seem like we are playing an altered F 7 Dom scale..Do you have any videos on the theory. I do notice the Bbmin7 seems to come from the Db scale. So Bb Aolian is my choice..could be mode other than that. The Eb7 sound a little like a Herbie Hancock lick...just trying to see what's going on..
I made 2 videos on this song. Have you watched both?. Your question can't be answered here...it has to be taken up in a tutorial. Thanks for posting your thoughts. Maybe another video on this song is due.
Listen the very idea of bebop is (I play Donna Lee almost every time I perform) is based on standard tonal harmony. Now if you start to apply bop harmonic conventions to post Shorter harmonies like Kenny Wheeler and well my own then things start getting messy, for me anyway. I had a realization of sound. That being my music is already exceedingly chromatic. Steeper than some players want to tackle.Time to reembrace my Vision after all If I don't no one else will and at 59 I'm not getting any younger. I've spent many years kneeling at the alter of the tradition. PS liked your ideas here brother.
I appreciate the comment. How we hear it is how we play it. It's fascinating what Bill Evans, Herbie Hancock, and Keith Jarrett hear. (to name 3). It amazes me...each to his own.
Hi Mike, I did this one a while ago, so I didn't realize I had talked about root 7th, root-3rd left hand voicings. I may have covered that on other vids. Anyway, that is always a good way to start.... by simplifying the left hand using those voicings. Check out my 2-5-1 exercises where that LH voicing is used throughout. Thanks! ruclips.net/video/DWM4ODFOrYU/видео.html
Hi Kent, thanks for your work, i have a simple question for you : for every "segment" of the melody (for every chord i mean), do i have to study the melody through scale from the tonal note or through the one suggest by the chord? sorry for my bad english, what i mean is that for example through a dominant chord, i can play altered scale of the dominant note to increase tension, because there is altered note in this scale for the dominant chord AND for the main scale of the song (the scale from the tonic), but do i have to analyse every run like that? To sum up, how to considered a song? As a scale (which can be modulated of course) from an unique note : the tonic ; as an addition of segment through different chords, each chords associated with different scale (from the fondamental of the chords) ; or finally as a mix of all of that : a key and a tonic scale (the structure), where different chords/harmonics are considered sometimes "close to the structure" (the melody have to be more considered through scale from the tonic) and sometimes as individual pieces (the melody have to be more considered through the chord played)
I think I know what you're asking, though that wording is a difficult question. The only answer I can give you here... because this can't be a 20 minute tutorial is that every song has a scale that relates to the key (tonic) of the song. That creates the major or minor modes that are the basis for improvisation on that song. However for each chord that is altered (within the formula of that song) each chord altered from it's natural quality in that key, it is required to alter the scale (built on the tonic of that chord) to fit that specific chord. In addition we have a variety of scale choices for any altered chord.... particularly the altered dominant 7th chords. If you watch all my vidoes ...you will see that I have answered your questions IN DEPTH! Thanks!
Hi Kent! have a question about the line you played at 5:54 It looks like a C major arpeggio played over a Bb7. Is it a superimposed chord? Or do you think of it as adding a #4 (lydian) to the Bb7?
It's quite common to play a Lydian Dominant scale (#11 and b7) over the dominant II chord. In doing so, the major chord a tone above the root of the chord (in this case C major being a tone above Bb) often finds its way into the improv and sounds great!
Hi Kent, thanks for all the wonderful material you upload. Question regarding the left hand: would you still be playing a lot of root notes in the left hand if you were in a band setting? I know modern jazz has you shy away from roots when there is a bassist present, but I also know the original bebop pianists played a lot of roots and fifths and 10ths in the left hand regardless of a bassist. Can you give me your advice on how to approach the left hand in a band setting for these kinds of tunes?
Just did a tutorial on the melody. It's a new song for me. I've tried out the suggested fingerings, they are interesting and diverse. I made a mistake on some videos. Where it goes up D F Ab C.. I used D F A C..even said it was a D minor 7 arpeggio. oh well, it's now a D dim7 . Kent, thanks so much for lead sheet.I looked in Charlie Parkers Book and it definitely more straight forward than his notations. I am having problems with getting the timing down, as far as where to put the chords. I also noticed that Charlie use Ab not Hannah 7 but the notes have G in them so it is a major seven. Similar to making a C7 And having an A in the melody. Since I seem to writing a book. I think of the 13 semitone below the b7. One of my favorite voicings in the right hand is Bb E A. Presently mainly working on the rhythm now Hope your fine.
I have been listening to Charlie Parker do this song. I just recently got the first 10 measures down. It's really fun to listen to it and play along with it. I always tell folks to get the sheet music from your sight with suggested fingerings.
Kent..Paul from Pianostyle100.. Getting the right hand down.. but the left hand is a work in progress. The first few chords are easy Abmaj7 F7 Bb but I can't get the right feel. I've seen this in Gypsy guitar..which I could come closer to playing it in fast eighths. Do you have any suggestions? I have your lead sheet but not the left hand part in the bass clef.
Start with the left hand just playing the roots of the chords. After that feels good then go to root and 7th in left hand. Watch my playlists on left hand accompaniment. You have to practice slowly with emphasis (not swing) and gradually build up tempo and more fluid swing feel. (not easy, but a great exercise I think))
Thanks for the insightful comment and suggestion. I'll put some thought into that. I do have a few videos that are only or mostly improv. Here's one:ruclips.net/video/_iRereuWEW4/видео.html Most people want teaching rather than playing.
It's a jazz term originally applied to trumpet players and the importance of developing strong lips and jaws (even requiring calluses on the lips) so that they could play high notes and fast lines. The concept has been translated down to all musicians who play any instrument: meaning they have a good technique and can play strong and fast. For a pianist it would mean developing strong fingers that can play with agility, speed, and accuracy. Thanks for asking!
+iBaschti CSGO You can start with this video: ruclips.net/video/Z4Ca611dsu8/видео.html (Improvisation on Donna Lee) Then scroll through my other videos to see which ones deal with improvisation and scales.
+ArtMad1 Sorry! I'm not sure why you are experiencing that. It seems fine on my computer and tablet. Did you check out any other videos of mine to see if it's happening elsewhere? All I use is a Canon Powershot S95. It records the video and audio at the same time. I'm not using separate devices for sound and video and then syncing them up afterwards.
It would be useful if you could elaborate on how to develop the bebop phrasing (in terms of note choice and swinging) in your solo. The head of the tune is actually pretty easy but what I've been struggling with is getting the signature bebop sound playing through ii-V-I's and whatnot. Thanks so much anyway, I watched many of them and your videos are really good . Kind regards from Italy!
Cesare Paolino Thanks for your comment and you make a good suggestion. Perhaps in a future video I can go into more detail about improvistional techniques and phrasing. That would be analyzing Donna Lee which I didn't intend to do in this video. In this I tried to show how practicing solo transcriptions (Donna Lee is really like a bebop-solo) can be helpful in developing an ear and finger coordination in the be bop style (language/venacular). Therefor it's a good exercise, (drill), particularly for intermediate level players who may be starting to learn improv. Even for advanced players it's good with the metronome to help improve your time. I thought this video was very useful, but I'm not getting any likes (thumbs up), why?
+pabslondon I was not aware of that. To me it doesn't sound like a tune Miles would write, but they could be right. Parker was Miles idol and Miles played with Parker early on.
There's either a mistake on your sheet music for Donna Lee, or you just never put in one of the notes in the beginning phrase. It still sounds good though!
I'll double check that...sometimes I change a note to better fit a pianists hands. The song is written for sax. (Did Miles ever play any song the way it was written?)
Here's the story: "Donna Lee" was originally attributed to Charlie Parker on the original 78-rpm recordings[3] and was copyrighted under his name in 1947. However, in various interviews and publications since, Miles Davis has claimed to be the composer.[2][3] Among these is a statement Davis made in his autobiography:"I wrote a tune for the album called 'Donna Lee,' which was the first tune of mine that was ever recorded. But when the record came out it listed Bird [Parker] as the composer. It wasn't Bird's fault, though. The record company just made a mistake."[4]
Some good info, but watch out for the wrong notes in the melody and the weird fingerings you're using...wouldn't recommend using that fingering for this tune.
+Brent McCollough I always say that fingering is a personal thing, so I don't generally recommend my fingering but I will make suggestions if someone asks. There's often a few options. You might want to check out the free score I posted on my website . I wrote the suggested fingerings in and they might be different than what I played. I'm pretty sure I used the Real Book version for the notes with maybe some slight changes that are better for pianists. Was it Monk or Miles, I think Miles, that said there's no wrong notes? www.kenthewitt.com/sitebuildercontent/sitebuilderfiles/donnaleewfingerings.pdf
+Kent Hewitt I've already learned the tune, thank you though. When it comes to melodies, there are certainly wrong notes when you aren't playing the melody accurately. I don't think they intended for that quote to be an excuse for playing melodies wrong and not caring about the chords or the character of the tune during improvisation. Overall, good video. Just a few small things I noticed. Have a good one!
+Brent McCollough I don't disagree.The integrity of the composers melody is important However by that standard we would all have to learn songs from the original sheet music or score. We couldn't learn melodies from jazz recordings because all the great players took liberties by interpreting and embellishing the melodies in their own personal way. Also, singers like Sarah, Ella, especially changed melody notes. The Miles quote referred mostly to improvisation but Miles always changed the melody or even left notes out. Thanks for the thoughtful comment!
+Kent Hewitt I'm just saying there were wrong notes in the melody the way you played it, that's all. I just don't want the people that are watching your video to learn the melody the wrong way like I did the first time, and I would hope that you wouldn't either. There are times to embellish and take liberties, and the notes in this video that you played in the melody that I am referring to were neither. There's a big difference in the way the greats could embellish or alter melodies and the way that people like me and you simply learned a few notes of the melody wrong. I'd recommend double checking in slow motion with the original recording before posting tutorials that have errors in them.
+Brent McCollough I changed a couple notes in meas.15 to accommodate what was awkward fingering but I did not change the notes on the free download on my website. That's all I could find and it seems to me a rather minor point. But I can see that you see it as a major point. People who watch videos should also look at scores that why I give them a score. I should remove the video or make a comment about it on a future video?
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How often do you come across an incredible musician and an unbelievably insightful and skilled teacher in the same person?! This is so helpful and fun to watch, everyone should be exposed to this, not only people who are trying to play jazz
Thanks, that's a great comment! Your affirmation is so helpful to me to know that what I'm doing is on the right track.
Your videos are fantastic. Please don't stop making them
Thanks for the vote of confidence!
We are so lucky to have you ¡ thank you Kent! .
So nice of you!
he's right, fingering is a very personal thing
+Jonathan Griffin Sometimes I use unorthodox fingerings that work for me but may not be the best for others. I try to present alternatives. Thanks!
I think you missed the joke... Great vid though.
Kent Hewitt bruh, I can't believe you missed your own innuendo.
especially when fingering passages as he said
Kent Hewitt sir I believe he meant fingering as in ‘Fingering a cunt’. P.S Wonderful video
Thanks again Kent
You are very welcome!
I'm gonna learn to play Donna Lee on my pedal steel guitar when I try my.new MSA. I love to learn from you great pianist and apply what I learn to the PSG. Thanks ken
That's so interesting to me...I'm glad I could help out!
Please continue your teaching Ken
Very clear and understanding peace and blessings
I will! Thank you!
Excellent information and technique. 💯💯💯👍👍👍
Glad it was helpful!
Thank you once more Kent ! I work as a teacher (not music) and I really appreciate your way of helping "students". Inspirnig both musically and as educational method.
Great video thanks. When I was younger I use to work on this but I never use to put enough effort into playing with the left hand and improv over the left hand. Now I'm totally out of practice with jazz but this is inspiring me to polish up my 'chops' again.
Thanks for telling me that this is helping you to improve!
Thank you."Donna Lee" is a great somg.I play it on my tenor every day.Now I've got to do more with the changes.Thanks again.
I have a follow-up video on Donna Lee where I discuss improvisation concepts:
ruclips.net/video/Z4Ca611dsu8/видео.html
Thanks.. That makes total sense. I am trying to get comfortable with the minor and major blues scales in all 12 keys.I am very comfortable in the C F G A E Bb Eb Blues.
Today, while practicing, blues in all keys; I had a few epic fails in keys like F# and Db. I will be looking into those video. Thank you again.
As pianists we're not so good in playing in the keys with the most sharps and flats. Working with singers helps...also playing classical repertoire works,,...but who wants to spend all that time required!!
@@KentHewittpiano88As a guiarist we have a tendency to avoid flats. The
Way the guitar strings lay out. EADGBE favors the sharp keys an C in open position. I notice this a while back and also that I had tendency to favor some more than others. I recently gave some thought to this. I have always shirked playing in keys like F# or Db. I could play in them but I could tell it was lack of practice. So lately, A good reason to play in all keys is that if a song modelates.for instance Chistmast Carol's. I recently had to down load 8 songs for Christmas. They go all over the place...That's not counting jazz songs like the Chistmast Song done by Mel Torme and Robert Wells. Even though it's in C, it has chords like F#m7-5. So it occurred to me he more keys I played in it would become natural and of xcourse help with note reading. Btw you suggested on Georgia to play
Fmaj 7 then Emin 7b5 . I play it now with the A7b9 It sounds great. I also used to play a F bluesover this, but now I use D blues over it I found that it by accident. When Hoagy wrote this he used that scale alt. The best
Love this version as a guitar bass player . Learned more about the timings here than Jaco videos . Thnx love your channel
Great comment, bro...that makes me feel so good!
@@KentHewittpiano88 my honour , your mastery of the piano and jazz is inspiring . I listen to your recordings for hours and anyone who sees this should do themselves a favour and check out Time on my hands and all the classics you play with the trio . Excellent stuff .
2:20 "I don't try to tell people how they should finger passages, because its a very personal thing but i make suggestions" 😂
That's right...fingering can be a personal preference thing.
Your videos are amazing
Glad you like them!
Nice one Kent. I enjoyed the little take off just before the wrap up. It's a great pleasure watching your videos. I'll keep faithfully watching them. All the best from Paris.
Nice ! Thanks Kent !
You are very welcome
excellent playing - very clean...
Thanks...your comment is very encouraging!
Thanks for this lesson, I just just learned the Donna Lee head, looking at the next step.
That's a great start...keep at it! Just go through my videos and score at a good pace...one at a time.Check this: ruclips.net/video/07Qlhd_-p0s/видео.html
Nice exercise. Downloaded exercise and I'll see how well I can master it. I have always LOVED be-bop (Oscar Peterson, et al) but never practiced it because it seemed so daunting (probably the speed). Your video made me think it's doable for me. Lots of great lead sheets and exercises to practice on your website. Thank you so much!
Thanks for telling me, and for the affirmation. You can also slow down the speed of any video without changing the pitch...just go to the settings logo below any video. Let me know.!
Awesome video! I have work to do but this video will help me get to where I need to be.
If it has value to you, then that is an affirmation to me!
you rock Kent! keep swinging!
Swing loose and thanks, Red!
WAIT ARE YOU ME
Oh my God this solo at the end is so perfect
Thanks so much!
It is a great video! In fact, it is just what I was looking for! I am very impressed with all your videos! And your website looks good as well. Thanks for sharing! I'll give it a go and will let you know how it's going for me - a beginning improv'er. Rene
RRTheN00bPwner Thanks so much for such a nice comment. I thought this video could be very helpful to the right persons, so I'm very glad it works for you. Also I'm very happy you like my videos; did you subscribe?
Of course I did subscribe! ;) working through all your videos and excited for more to come! Thanks again from Austra^^
Kent your videos really inspired me a lot and helped me discover some cool piano techniques! Thanks :)
I'm so glad to hear that! Many thanks for that affirmation...it keeps me going.
Ah ha....
The Charlie Parker tutorial you mentioned Kent!
Excellent exercise for helping to get my Be-Bop up to speed...
Thank you so much for all your postings..clear and easy to follow.
I'm so glad I can download and slow down though ...
My brain can keep up then...never mind my fingers:-)
+davidjohan99 Thanks so much for the comment. I'm glad I can help and esp. since you are able to slow down the video. I try to be clear.... but it's not so easy to slow down. Please check out my other videos on Be Bop and Charlie Parker tunes, especially the Yardbird Suite vid. I'd be very interested to hear your opinion.
Kent, I know this video is ancient but I notice that on the B7 before the ii-V-I you use a C major arpeggio and it sounds really sweet - why does that work so well harmonically? I hear it all the time in things to the point I throw it in when I have the opportunity but I don't "get" it
ex. 5:54
I think you mean the Bb7 chord. The C major arpeggio against a Bb7 chord adds the 9th , #11, and 13th to the Bb7 ...so it sounds great with those upper structure harmonies. You've got to be sure you have the 3rd and 7th the left hand..
@@KentHewittpiano88 yeah that was a typo, needed another lowercase "b" lol - Thank you for such a concise explanation
wonderful again.
+Claiton tesch Thanks so much for the support!
Is this a good way to think about latin(I may be mistaking this for another style) beats? 1-2-3-4-and-1-2-3-4-and... where the fourth is the eighth note? or is it better to think of it like 1-and-2-and-3-and-4-and, just counting the first 3 off beats(ands) as rests. Perhaps I haven't listened to enough latin music to understand, but when I search up latin music or latin composers I usually just get music actually IN latin, not the style. Could you name some big hot shots in the latin biz?
Finaly question, what are some other stylings of jazz music? I've only heard of jazz, latin, and bebop and the latter two I barely know at all. Thanks, love your videos
Thanks for the comment. If you listen to the drummer, the Bossa Nova rhythm is downbeat on 1, up of 2, down of 4, then (next measure) down of 2 and up of 3. I would need to explain this in a video to make it all clear. Cal Tjader is one of my personal favorites for Latin jazz but there is more authentic Latin if you prefer. Other jazz styles are Dixieland, Swing, Big Band, Fusion, Jazz Waltz, Third Stream, Funk, West Coast, Hard Bop, Soul Jazz, Gospel Influenced, and etc.
I just receivd ur msg and i can say im pretty happy i discovered ur videos i rly enjoy these kinds of tutorials specially bebop jazz ones thank you very much.
+Bernardo Semião Thank you, I'm glad you responded to my message...it is very gratifying to know that this video is helpful because the exercise was useful to me, so I'm passing it along.
Great vid! I'm glad I found your channel. I'm getting back into bebpop. Who makes your metronome? I'd like an analog one.
I use a Seiko. Just Google search metronomes and there's lots of choices. Mine here: www.amazon.com/SEIKO-SQ50V-SQ50-V-Quartz-Metronome/dp/B000LFCXL8/ref=asc_df_B000LFCXL8/?tag=hyprod-20&linkCode=df0&hvadid=312176484647&hvpos=&hvnetw=g&hvrand=5408848040650378824&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9010123&hvtargid=pla-633098164792&psc=1&tag=&ref=&adgrpid=62521174299&hvpone=&hvptwo=&hvadid=312176484647&hvpos=&hvnetw=g&hvrand=5408848040650378824&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9010123&hvtargid=pla-633098164792
Exquisite lesson that I'm definitely going to commit to learning. It sounds so good and looks like a lot of fun to learn.
I'm having trouble finding the fingering tutorial on your website. Can you possibly provide a more specific link?
When you went to the full 100 BPS, this number reminded me of something my father played called, "dizzy fingers" by Zez Confrey.
Thanks for the comment. All scores are under the heading Free Music Downloads and they are in alphabetical order. Here's the link: storage.googleapis.com/wzukusers/user-26455100/documents/586594b34cab9pAzUF2a/Donna%20Lee%20w%20fingerings.pdf
I've got most of this song down at full speed. It took awhile. Trying to unlock the different nuances of this song. Off the Abmaj7..it looks like it goes to a F bebop mixolydian. Notes. F E Eb D C AC Eb F. I see some of the notes as extensions..R 7 b7 13 5 11 3 5 b7 R..then it goes to Bb7..it seem like we are playing an altered F 7 Dom scale..Do you have any videos on the theory. I do notice the Bbmin7 seems to come from the Db scale. So Bb Aolian is my choice..could be mode other than that. The Eb7 sound a little like a Herbie Hancock lick...just trying to see what's going on..
I made 2 videos on this song. Have you watched both?. Your question can't be answered here...it has to be taken up in a tutorial. Thanks for posting your thoughts. Maybe another video on this song is due.
Huge thanks for this - exactly what I needed!
Glad it helped!
this video is "practice chunks slowly with a metronome and speed up"???
Yes...that is what you should do!
Listen the very idea of bebop is (I play Donna Lee almost every time I perform) is based on standard tonal harmony. Now if you start to apply bop harmonic conventions to post Shorter harmonies like Kenny Wheeler and well my own then things start getting messy, for me anyway. I had a realization of sound. That being my music is already exceedingly chromatic. Steeper than some players want to tackle.Time to reembrace my Vision after all If I don't no one else will and at 59 I'm not getting any younger. I've spent many years kneeling at the alter of the tradition. PS liked your ideas here brother.
I appreciate the comment. How we hear it is how we play it. It's fascinating what Bill Evans, Herbie Hancock, and Keith Jarrett hear. (to name 3). It amazes me...each to his own.
Thanks Kent, struggling with the left hand voicings. Suggestion re 3rd and 7th to start is useful
Hi Mike, I did this one a while ago, so I didn't realize I had talked about root 7th, root-3rd left hand voicings. I may have covered that on other vids. Anyway, that is always a good way to start.... by simplifying the left hand using those voicings. Check out my 2-5-1 exercises where that LH voicing is used throughout. Thanks! ruclips.net/video/DWM4ODFOrYU/видео.html
Nice video. I'll follow you Kent !
Hi Kent, thanks for your work, i have a simple question for you : for every "segment" of the melody (for every chord i mean), do i have to study the melody through scale from the tonal note or through the one suggest by the chord? sorry for my bad english, what i mean is that for example through a dominant chord, i can play altered scale of the dominant note to increase tension, because there is altered note in this scale for the dominant chord AND for the main scale of the song (the scale from the tonic), but do i have to analyse every run like that? To sum up, how to considered a song? As a scale (which can be modulated of course) from an unique note : the tonic ; as an addition of segment through different chords, each chords associated with different scale (from the fondamental of the chords) ; or finally as a mix of all of that : a key and a tonic scale (the structure), where different chords/harmonics are considered sometimes "close to the structure" (the melody have to be more considered through scale from the tonic) and sometimes as individual pieces (the melody have to be more considered through the chord played)
I think I know what you're asking, though that wording is a difficult question. The only answer I can give you here... because this can't be a 20 minute tutorial is that every song has a scale that relates to the key (tonic) of the song. That creates the major or minor modes that are the basis for improvisation on that song. However for each chord that is altered (within the formula of that song) each chord altered from it's natural quality in that key, it is required to alter the scale (built on the tonic of that chord) to fit that specific chord. In addition we have a variety of scale choices for any altered chord.... particularly the altered dominant 7th chords. If you watch all my vidoes ...you will see that I have answered your questions IN DEPTH! Thanks!
Hi Kent! have a question about the line you played at 5:54
It looks like a C major arpeggio played over a Bb7. Is it a superimposed chord? Or do you think of it as adding a #4 (lydian) to the Bb7?
I'm not Kent, of course, but your ears are correct. That is a Bb7 #11, and the C arpeggio you hear fits nicely with that chord.
It's quite common to play a Lydian Dominant scale (#11 and b7) over the dominant II chord. In doing so, the major chord a tone above the root of the chord (in this case C major being a tone above Bb) often finds its way into the improv and sounds great!
@@MarkSemsel ya true that, adding the 9th and 13th are beautiful extensions emphasizing the #11 already
Hell yeah! swing galore. thanks for the help.
+tribukaribe Thanks for the comment and please keep watching...more to come!
Thank you. This theme was written by Miles according his autobiography
I have heard that...but to me it sounds like a solo that Bird played and then someone transcribed and notated it. You?
@@KentHewittpiano88 I think the same but then why Miles would said that? I keep thinking
@@atahualpayupanqui4098 because he was selfish 😁
Thank you so much!!
You are the master
Thank you, sir!
Hi Kent, thanks for all the wonderful material you upload.
Question regarding the left hand: would you still be playing a lot of root notes in the left hand if you were in a band setting? I know modern jazz has you shy away from roots when there is a bassist present, but I also know the original bebop pianists played a lot of roots and fifths and 10ths in the left hand regardless of a bassist. Can you give me your advice on how to approach the left hand in a band setting for these kinds of tunes?
Just did a tutorial on the melody. It's a new song for me. I've tried out the suggested fingerings, they are interesting and diverse. I made a mistake on some videos.
Where it goes up D F Ab C.. I used
D F A C..even said it was a D minor 7 arpeggio. oh well, it's now a D dim7 . Kent, thanks so much for
lead sheet.I looked in Charlie Parkers Book and it definitely more
straight forward than his notations.
I am having problems with getting the timing down, as far as where to put the chords. I also noticed that Charlie use Ab not Hannah 7 but the notes have G in them so it is a major seven. Similar to making a C7 And having an A in the melody. Since I seem to writing a book. I think of the 13 semitone below the b7. One of my favorite voicings in the right hand is Bb E A. Presently mainly working on the rhythm now Hope your fine.
Thanks for the comment and best to you. KH
I have been listening to Charlie Parker do this song. I just recently got the first 10 measures down. It's really fun to listen to it and play along with it. I always tell folks to get the sheet music from your sight with suggested fingerings.
Kent..Paul from Pianostyle100.. Getting the right hand down.. but the left hand is a work in progress.
The first few chords are easy Abmaj7 F7 Bb but I can't get the right feel. I've seen this in Gypsy guitar..which I could come closer to playing it in fast eighths. Do you have any suggestions? I have your lead sheet but not the left hand part in the bass clef.
Start with the left hand just playing the roots of the chords. After that feels good then go to root and 7th in left hand. Watch my playlists on left hand accompaniment. You have to practice slowly with emphasis (not swing) and gradually build up tempo and more fluid swing feel. (not easy, but a great exercise I think))
good ness!! Keep up the good work man. keep teaching
great chop builder
Works every time, and the improv is the real fun part.
very good !
Many thanks!
Jazz has complex chord structures,still learning to improvise....
THanks much, excellent lesson.
hello very good video :) and can we apply this to any other musics?
+Frecheszinho Be- Bop can be useful in all kinds of music, particularly the facility of dexterity in the fingers. Thanks for the comment and question!
humm interesting, thanks for your response :)
love it
Grateful!
I like your Monk fall at 5:58! Also, do you have a video explaining the descending intervals at 6:00?
Thanks a bunch.
Steve - Bass
Thanks for the insightful comment and suggestion. I'll put some thought
into that. I do have a few videos that are only or mostly improv. Here's one:ruclips.net/video/_iRereuWEW4/видео.html Most people want teaching rather than playing.
Great video! But I don't understand what is "Chops". Could someone explain to me?
It's a jazz term originally applied to trumpet players and the importance of developing strong lips and jaws (even requiring calluses on the lips) so that they could play high notes and fast lines. The concept has been translated down to all musicians who play any instrument: meaning they have a good technique and can play strong and fast. For a pianist it would mean developing strong fingers that can play with agility, speed, and accuracy. Thanks for asking!
Got it! Thanks for you clear explaination!
Ken, quick question; what type metronome is that? I'd prefer something like that over an app
Thanks in advance
SEIKO:
www.amazon.com/SEIKO-SQ50V-SQ50-V-Quartz-Metronome/dp/B000LFCXL8
Hi there !
Do anyone know the title of Ahmad Jamal's introductive part of the course @ 0:02 ??? Thanks
+Orientaliszt The title is "Music, Music, Music", and that's the Kent Hewitt Trio playing Jamal's arrangement from Live At The Pershing.
What is the name of your piano ken?
Mason and Hamlin, Model AA , 1905
i dont understand with the left.. sould we improvise by ourself?
You can follow the chord progression with your left. You can probably start off playing the 3rd and 7th of the chord with your left
Nice videos !! I follow you in your RUclips chanel
which scales do u use ? i dont really know which scale i have to use on which cord
+iBaschti CSGO You can start with this video: ruclips.net/video/Z4Ca611dsu8/видео.html
(Improvisation on Donna Lee)
Then scroll through my other videos to see which ones deal with improvisation and scales.
thx
ure awesome
+iBaschti CSGO THX!!
thanks for lesson
+Somsak Pullaparuk All my pleasure...thanks for your comment!
nice song
Donna Lee ?
yesss Kent Hewitt
Como cuentas los compases para entrar en destiempo maestro
Hot damn. That was good!
+Mauricio Carrillo That's a good tutorial, I think, so thanks...so much, for the affirmation.
Fantástico
Thank you!!!
Thank you, too!
Audio not in sync with video?
+ArtMad1 Sorry! I'm not sure why you are experiencing that. It seems fine on my computer and tablet. Did you check out any other videos of mine to see if it's happening elsewhere? All I use is a Canon Powershot S95. It records the video and audio at the same time. I'm not using separate devices for sound and video and then syncing them up afterwards.
+ArtMad1 Mine's good.
Cool stuff :)
+Sebastian Rolland Well, then I say to you, Sir, that you are Very Cool!!
It would be useful if you could elaborate on how to develop the bebop phrasing (in terms of note choice and swinging) in your solo. The head of the tune is actually pretty easy but what I've been struggling with is getting the signature bebop sound playing through ii-V-I's and whatnot. Thanks so much anyway, I watched many of them and your videos are really good . Kind regards from Italy!
Cesare Paolino Thanks for your comment and you make a good suggestion. Perhaps in a future video I can go into more detail about improvistional techniques and phrasing. That would be analyzing Donna Lee which I didn't intend to do in this video. In this I tried to show how practicing solo transcriptions (Donna Lee is really like a bebop-solo) can be helpful in developing an ear and finger coordination in the be bop style (language/venacular). Therefor it's a good exercise, (drill), particularly for intermediate level players who may be starting to learn improv. Even for advanced players it's good with the metronome to help improve your time. I thought this video was very useful, but I'm not getting any likes (thumbs up), why?
I just think it's because it has been online for little time (just a little more than a week) and it's easy to miss videos in the mist of RUclips :)
+Kent Hewitt I read that it was written by Miles Davis but credited to Parker
+pabslondon I was not aware of that. To me it doesn't sound like a tune Miles would write, but they could be right. Parker was Miles idol and Miles played with Parker early on.
There's either a mistake on your sheet music for Donna Lee, or you just never put in one of the notes in the beginning phrase. It still sounds good though!
I'll double check that...sometimes I change a note to better fit a pianists hands. The song is written for sax. (Did Miles ever play any song the way it was written?)
playalong: 4:56
NIce!
WOW WOW WOW..!!
+Edwin Keys THANKS, MAN!
Written by Miles Davis*
Here's the story: "Donna Lee" was originally attributed to Charlie Parker on the original 78-rpm recordings[3] and was copyrighted under his name in 1947. However, in various interviews and publications since, Miles Davis has claimed to be the composer.[2][3] Among these is a statement Davis made in his autobiography:"I wrote a tune for the album called 'Donna Lee,' which was the first tune of mine that was ever recorded. But when the record came out it listed Bird [Parker] as the composer. It wasn't Bird's fault, though. The record company just made a mistake."[4]
Kent maybe I’m thecran blake you ve heard if
You are...and it's an honor to hear from you, sir!
1:57
só enrola..
i gotta say im learning blues and jazz on the organ that seems hard as hell
Just keep at it and it will get easier as time goes by....you've got to have passion and motivation.
With subtitles in spanish 😬
I'm glad you know how to do that.
Some good info, but watch out for the wrong notes in the melody and the weird fingerings you're using...wouldn't recommend using that fingering for this tune.
+Brent McCollough I always say that fingering is a personal thing, so I don't generally recommend my fingering but I will make suggestions if someone asks. There's often a few options. You might want to check out the free score I posted on my website . I wrote the suggested fingerings in and they might be different than what I played. I'm pretty sure I used the Real Book version for the notes with maybe some slight changes that are better for pianists. Was it Monk or Miles, I think Miles, that said there's no wrong notes? www.kenthewitt.com/sitebuildercontent/sitebuilderfiles/donnaleewfingerings.pdf
+Kent Hewitt I've already learned the tune, thank you though. When it comes to melodies, there are certainly wrong notes when you aren't playing the melody accurately. I don't think they intended for that quote to be an excuse for playing melodies wrong and not caring about the chords or the character of the tune during improvisation. Overall, good video. Just a few small things I noticed. Have a good one!
+Brent McCollough I don't disagree.The integrity of the composers melody is important However by that standard we would all have to learn songs from the original sheet music or score. We couldn't learn melodies from jazz recordings because all the great players took liberties by interpreting and embellishing the melodies in their own personal way. Also, singers like Sarah, Ella, especially changed melody notes. The Miles quote referred mostly to improvisation but Miles always changed the melody or even left notes out. Thanks for the thoughtful comment!
+Kent Hewitt I'm just saying there were wrong notes in the melody the way you played it, that's all. I just don't want the people that are watching your video to learn the melody the wrong way like I did the first time, and I would hope that you wouldn't either. There are times to embellish and take liberties, and the notes in this video that you played in the melody that I am referring to were neither. There's a big difference in the way the greats could embellish or alter melodies and the way that people like me and you simply learned a few notes of the melody wrong. I'd recommend double checking in slow motion with the original recording before posting tutorials that have errors in them.
+Brent McCollough I changed a couple notes in meas.15 to accommodate what was awkward fingering but I did not change the notes on the free download on my website. That's all I could find and it seems to me a rather minor point. But I can see that you see it as a major point. People who watch videos should also look at scores that why I give them a score. I should remove the video or make a comment about it on a future video?
🌱💛🌾🙄
Thank you!
Nice Boston accent
I went to school there and lived there one year...but didn't think I picked up the accent!
Grande Professionalita'. Maestro La Volevo Invitare A Visitare Delle Piste Musicali Create Da Me. Di Solito Suonate Sempre Con Lo Stesso Pedale, Piu' Che Altro Per Conoscere Bene La Mia Tastiera E Il Piano Elettrico Sono State Registrate Nel Canale RUclips ruclips.net/channel/UC7UvK_gjsvw_ZI44fQ28JcA Ci Sono Delle Lezioni Sue Plendide. Non Vedo L'ora Di Assimilarle Bene E Registrare Qualcosa.Complimenti Non Un Maestro Per Me Un Grande Professore Grandioso
you are an artist you are not an antenna
Thanks for the affirmation!
Was it just me, or does he totally sound like Bill Murray?
+Sam McEwan Personally, I wouldn't mind that.
Jazz has complex chord structures,still learning to improvise....
4:58
Thank you!