This one is super helpful. The rules about doubling can feel really slippery and arbitrary so hearing you guys break down *why* it sounds less effective is great.
14:26 going rootless, at first, I was very shy, and then it felt very liberating... but that doesn't mean I'm gonna waltz around, exposing my 3rd or 7th wherever I go. For example, when Christmas carolling, people might think it's a bit rude. Bringing a melodica carolling is probably already pushing it.
20:02 That's how I think of it, having grown up mostly around simpler music. Instead of one big jazz chord, it's it's like blending simpler elements. I'd be happy if jazz chords were written like slash chords, but it would be 2 chords instead of chord and bass note. Then, you'd put a little 1, 3, 5 (and 7, for the lower chord) in each corner of each chord, to show which notes you omit. IOW, if the lower chord has a 3 and 7 in its top right and lower left corner (my arbitrary placement), that means you only play the 1 and 5 of that chord. I just thought of this, so no, I haven't thought every possibility through, yet. The upper and lower chords don't have to be only major or minor, obviously, or you'd be missing some options. And, it might make more sense to subscript and superscript the note numbers that you DO play, rather than the ones you're supposed to omit. But anyway.
@18:21 How would you go about practicing this? I tend to move minimally like in your first example since it "feels" natural. Would I have to just ingrain many different voicings to get that natural feel?
I think we're close to the same age and I came up in a time where teachers were teaching Bill Evan's rootless voicings. It was there I heard often, use these voicings when you're playing with a bass player, you don't need the root.
Actually, things that you don't want to do are generally a much more powerful and liberating agenda. No PC pun here, talking from experience. I don't say that too often, but I love you ranty little things. Good job with the episode! Having said that, an idea for everyone: you actually play every time you practise )
Thanks, guys - another great episode! I find that due to the thickness of the Rhodes voice (vs. acoustic piano) often times less (notes) is cleaner. Any thoughts on that?
I'll have to agree with another commenter here pointing out this being a bit subjective, especially within the context. I checked out a couple of neo-soul and gospel pianists and what these guys were basically doing for example was to play a standard rootless Cm9 chord in the left hand (Bb-D-Eb-G) while the right hand played various combinations and inversions plus doubled top and bottom notes of Ebmaj, Gm, and Bbmaj chords. At times the 7th and 3rd were not only doubled, but tripled! Frankly, even with the repeated notes these 8-note chords (at times 9) sounded quite beautiful but the root was nowhere to be found. While playing them at home i could see why; the root (to my ear) immediately destroyed any kind of prettiness and now seemed harsh and dissonant. Maybe i was trippin out but like i said, maybe it has to do with the context since what Adam and Peter are explaining above is also quite sound (no pun intended).
Protip: listening to episodes about Larry Bird and “black American music” is OK on crappy iPhone speakers. But listening to episodes on why it’s good to avoid to doubling notes in voicings and talking about harmonics and overtones… maybe you wanna go get your studio headphones. There are some voicings that sound IDENTICAL on my iPhone speakers to my ears.
I mean IPhone speakers are fine, there is no frequency range on the piano that IPhone speakers can’t encompass. If you can’t hear the difference that may be a you thing and not the speaker thing. Also why is black American music in quotes?
This feels too random and subjective. It might also depend upon the timbre of the keyboard. The sheer number of combinations is also mind boggling. I’ll keep at it.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
You guys are deep, accessible, and hilarious! I learn so much while laughing. That is joy. Thank you!
This one is super helpful. The rules about doubling can feel really slippery and arbitrary so hearing you guys break down *why* it sounds less effective is great.
I'm making a Messian! 😅
14:26 going rootless, at first, I was very shy, and then it felt very liberating... but that doesn't mean I'm gonna waltz around, exposing my 3rd or 7th wherever I go. For example, when Christmas carolling, people might think it's a bit rude. Bringing a melodica carolling is probably already pushing it.
20:02 That's how I think of it, having grown up mostly around simpler music. Instead of one big jazz chord, it's it's like blending simpler elements. I'd be happy if jazz chords were written like slash chords, but it would be 2 chords instead of chord and bass note. Then, you'd put a little 1, 3, 5 (and 7, for the lower chord) in each corner of each chord, to show which notes you omit. IOW, if the lower chord has a 3 and 7 in its top right and lower left corner (my arbitrary placement), that means you only play the 1 and 5 of that chord. I just thought of this, so no, I haven't thought every possibility through, yet. The upper and lower chords don't have to be only major or minor, obviously, or you'd be missing some options. And, it might make more sense to subscript and superscript the note numbers that you DO play, rather than the ones you're supposed to omit. But anyway.
@@GizzyDillespee1:44 😅😅😅 1:45 1:46 oô88î😮8ii😮îîîiîii😮ii😮😮8😮😮😮😮😮😮😮8😮îiiîiiîîi😮î😮îiiiîîîiiiiiiiiiiiîii😮iîî😮 si 8😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅😅
I love your intros...fun and playful before the serious stuff begins. 🙂
like eating *dessert* before dinner 😂
@@pianopeter 🤣🤣🤣
@18:21
How would you go about practicing this? I tend to move minimally like in your first example since it "feels" natural.
Would I have to just ingrain many different voicings to get that natural feel?
Harmonic continuity and voice leading are the true keys to beauty in chord movement.
Great lesson as always! Also you’re total legends for bringing back the keyboard visual, super helpful! thanks so much!
I bristle at your use of brussel
😂
Interesting stuff!
I think we're close to the same age and I came up in a time where teachers were teaching Bill Evan's rootless voicings. It was there I heard often, use these voicings when you're playing with a bass player, you don't need the root.
Love from Belgium ❤
🇧🇪🇧🇪🇧🇪🇧🇪
Both enjoyable and informative. Thank you.
thank you for this helpful video! I learned so much. this will definitely help me with making music
Yall are awesome
Actually, things that you don't want to do are generally a much more powerful and liberating agenda. No PC pun here, talking from experience. I don't say that too often, but I love you ranty little things. Good job with the episode! Having said that, an idea for everyone: you actually play every time you practise )
These guys know chords better than themselves
How do you make every voice be its own melody?
Thanks, guys - another great episode! I find that due to the thickness of the Rhodes voice (vs. acoustic piano) often times less (notes) is cleaner. Any thoughts on that?
No spooky gala? Anyhow, adhered to and what's up from Brussels. Nobody brussled here ✌️
🇧🇪🇧🇪🇧🇪🇧🇪
Hi, greetings from Colombia. What Midi Controllers are you guys using there?
The Barry Harris sequence style is from Fats Waller My Fate is in Your Hands
Thank you, Gentlemen ⭐🌹⭐🌹
What is "Messian" ? I sort of recognised it but couldn't find anything from searching Messian, Mession, Mecion.
Thanks.
GALA
en.wikipedia.org/wiki/Olivier_Messiaen
@@YoullHearItliterally the only variation of the spelling OP didn't try 😂
I'll have to agree with another commenter here pointing out this being a bit subjective, especially within the context. I checked out a couple of neo-soul and gospel pianists and what these guys were basically doing for example was to play a standard rootless Cm9 chord in the left hand (Bb-D-Eb-G) while the right hand played various combinations and inversions plus doubled top and bottom notes of Ebmaj, Gm, and Bbmaj chords. At times the 7th and 3rd were not only doubled, but tripled! Frankly, even with the repeated notes these 8-note chords (at times 9) sounded quite beautiful but the root was nowhere to be found. While playing them at home i could see why; the root (to my ear) immediately destroyed any kind of prettiness and now seemed harsh and dissonant. Maybe i was trippin out but like i said, maybe it has to do with the context since what Adam and Peter are explaining above is also quite sound (no pun intended).
ADAM MENACE
4-sho!
What's the 7/8 intro music
Love your videos! But... it seems like this one is a bit oversaturated, I mean colors. The content itself is awesome as always)
Protip: listening to episodes about Larry Bird and “black American music” is OK on crappy iPhone speakers. But listening to episodes on why it’s good to avoid to doubling notes in voicings and talking about harmonics and overtones… maybe you wanna go get your studio headphones. There are some voicings that sound IDENTICAL on my iPhone speakers to my ears.
I mean IPhone speakers are fine, there is no frequency range on the piano that IPhone speakers can’t encompass. If you can’t hear the difference that may be a you thing and not the speaker thing. Also why is black American music in quotes?
Isn't jazz black american music?
@@95yazid it is, but why is it in quotes as if it’s some supposed thing rather than fact
Skill issue
Agreed 100%
Good choice Royce 😂
How are you getting the notes to show up on the staff instantaneously in the editing process if you don't mind me asking?
chordie app!
Peter looks more like an Adam than Adam. lol
ha! walking a bass line while you have a bass player has to be done at least once 😂😂😂
whats the name of the pluggin that shows the notes un the pentagrams?
Chordie: link.youllhearit.com/chordie
Not to be too pedantic but the word you want is "bristle".
Say this, don't say that 😂
Thank you lol
That Db instead of C# kinda bugs me too much...lol
Jajjajajaja que buen rollo entre los dos
I'm bristling with the constant mistake of saying 'brustling'.
Such a channel ...
This feels too random and subjective. It might also depend upon the timbre of the keyboard. The sheer number of combinations is also mind boggling. I’ll keep at it.
People with absolute pitch tend to show off. But actually only the relative pitch people can enjoy music and write music. This is an untold secret.
Where did you get that absurd idea from?
‘Mistakes’? In jazz? Surely not ;-)