Be Able to Nail this Exercise Before Taking a Lesson with Me
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- Опубликовано: 12 апр 2024
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Pianist, composer, bouncy house connoisseur, and guy-who-bounced-too-much Jeremy Siskind shares an arpeggio exercise that is one of the most common exercises he assigns to students. He demonstrates using Jobim's iconic "One Note Samba."
Apologies for the distractedness in the middle - his dog, Frankie, was eating grass and Jeremy was trying to decide whether to stop the video and tell Frankie to stop or to keep the video going and let him eat the grass. He let Frankie eat the grass... 
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A beautiful studio, Jeremy! Here I am, spending my Saturday morning following your lessons all over the place! I wish there were 2 extra hours each day:( A great lesson on a simple yet important concept. I love that you added an extra challenge of playing at 240+ mm. Thanks as always!
Loving the new studio set up! Great tutorial this will keep me busy 😁😁 thank you
Awesome lesson & Congratulations on the new STUDIO Jeremy!
Many thanks, snooze! Sending my best!
Thanks for another great lesson from your studio!
Many thanks for watching, Marky!
Studio ❤ Thank you!
Thanks for watching, Kirsten! Happy practicing!
Thank you, Jeremy. Congratulations on the new studio.⭐🌹⭐
Thank you so much, Brenda! ❤️ 🌹 ❤️
Congratulations for the new studio Jeremy! Hope all the best for you
Thank you so much! So far, so good!
Useful excercise and great lesson as always.Thanks Jeremy.
Many thanks, Fritz! Thanks for spending your time with me!
Lovely studio! And I would love to have a lesson with you.
Thanks, Kevin! You're welcome any time (I mean, let me know first...)
Beginner to intermediate here; would have liked to see a breakdown of the left hand, but in any event, thank you!
Hi Ariel! This one wasn't about the left hand, but I'm playing shell voicings/bass shells. This video gives a breakdown: ruclips.net/video/IrNgBaOEm2M/видео.html
@@JeremySiskind you’re the best, super talented & helping->Blessings🙏🏽
Great lesson. Congrats on the studio!
Thanks for watching, George! I appreciate it!
Great lesson, perfect for what I need to work on. Congrats on the new studio!
I'm very glad! Thanks much, JGS! (good initials by the way - at least the "JS" part)
Great lesson!
Many thanks for watching, Gavin!
Yes, a great get it together exercise. Thanks. Sounds so Charlie Parker to me for some reason. Studious doings.
Yes - Bird uses 3-5-7-9 arpeggios all the time.
Nice new studio! This is a great reminder on how to get comfortable with outlining harmony and internalizing a tune. Thanks!
Thanks for watching, Tom! It’s a basic exercise with potentially profound implications. Happy practicing!
Thanks Jeremy for another well explained lesson from your new studio. I've been working on my arpeggios recently over the song form for You Don't Know What Love Is and your ideas here will be very helpful for my practicing.
Awesome! I miss you, Eric! Come visit soon!
Nice summary - reinforces Book 1 arpeggios.
Congratulations on the new STUDIO!
Perfect! Thank you, Rick!
Hello Jeremy thank you very much for this interesting excercise. I like the way you teach keep on create video lke that regards
Thanks so much, Kenny. Happy practicing!
Congrats on the new studio! I remember this exercise from your Improv I class
Niiiiice. Hopefully you've mastered it by now! 😂
Excellent tutorial as always. I was going to ask for tips on walking bass lines but I will just try and use my ear to hear what you are doing. This is a good hand independence exercise too. Will def apply to tunes, thank you Jeremy
I did one video with Danny Ziemann about basslines and I’ve got some information about walking basslines in Jazz Piano Fundamentals, Book 2, if you’re interested. 😊
Best exercise ever!
Wooo! Best ever!!!
Studio! Deepest thanks Jeremy! Congrats on the Studio! Have I mentioned the studio? 😊
Thanks much, Joe! You’ll have to come over and play this piano at some point!
The studio looks great!
Thank you! I want to do some sort of video tour at some point down the road (not that it’s that exciting, but we’re proud of it)
I am up to the challenge 😲I can't wait for jazz piano lessons 👐🙌🙏😪
And of course ...Studio magic 🎩 🪄
Yay, thanks for watching, Pat!
@JeremySiskind does that mean I have free jazz piano lessons 🙏? Just kidding 😂 😜
Great stuff sir 👏 🙌
Glad to see the studio is looking great!
Thanks! You’ve gotta come check it out someday, Josh!
@@JeremySiskind I’d love to. We’ll do a jazz-off on camera.
Cool video, Jeremy. Digging the new studio, Sir.
Many thanks, Stuart!!!
Hi Jeremy, a great reminder here for a drill that is useful to get down every song! I miss your old bookcase background, but nice to see the new Studio :)
I might bring in some more books - I miss the bookcase too! Nice to see your name pop up here, Bethany! Take care!
Studio! Thank you, great lesson/exercise. Congrats for the new studio! There is some echo though. Nothing major : all you say and play is very clear. Thanks again, see you next time!
Thanks very much, Martin! I’ll be doing more with Sound and lighting down the road, but it’s just a victory to move in for now.
Nice studio!
Thank you! When it’s really totally done, I’ll post some kind of a tour video so you can see it all. I’m very lucky!!!
Studio!
Great Studio. Would it be to much to ask what level of your teaching jazz piano this exercise applies to? There are always very interesting lessons on your channel Jeremy but I never know how they place as addition to your books.
Thank you,
Michael
This exercise is about in the sixth unit of my first jazz piano fundamentals book and I usually teach it about two months into my first class at the college, so I would say, it’s pretty close to beginning level
@@JeremySiskind Thank you very much Jeremy
At what point would you recommend using all the inversions of these arpeggios, i.e., how important is it to focus on the 3579 arpeggios in that order?
I’d master the 3-5-7-9 first and then expand outwards to other inversions. The 3-5-7-9 I that order is pretty fundamental to the jazz idiom but the more inversions you know, the more options you’ll have
studio!
Studio!!!!! Thanks for watching!
Good exercice! What arpeggio do you play on a Xmin7(b5) chord ? Because the major 9 is not part of the traditional locrian Xmin7(b5) chord and the b9 doesn’t sound amazing on this chord… thank you for your answer!!
You can just use the ninth from the key, a higher ninth from outside of the key, or replace the ninth with the root. If you use the ninth from outside of the key, just make sure you resolve it in the next measure.
@@JeremySiskindthanks a lot I will try them! 😊
Me: "It's too easy". Also me rushing to the piano to check if I can do it. [Edit] It's a great exercise, and then it seems natural to start adding a few notes here and there, vary the rhythm a bit, a gentle entry point to improvisation.
Haha, happy practicing, Woody!
Good exercise.
One friendly suggestion: Maybe try to find a less intrusive (ideally off camera) placement for your voice mic? 😀
Sound over looks, though... I'd rather see the mic than hear clipping or a vocal/piano imbalance. Would a boom, that has overhead capability, still achieve a balance? I still hear a little piano clipping (distortion when the mic is overloaded) when he digs in, towards the end, so the mic and placement aren't perfect yet (assuming the goal is to achieve a good balance between voice and piano, with as little clipping as possible). But IDK... a boom stand, or one of those skinny unobtrusive but expensive NPR Tiny Desk mics, could be a waste of money for this specific situation. Maybe if the existing mic was placed further to the right, so the notation would block it from view? But then, the piano tone would be brighter, and the vocal/piano mix might be off. During this video, I was looking mostly at the lead sheet, TBH, since I didn't know the chords to One Note Samba. Since the mic wasn't blocking that, I didn't really pay it much attention.
BTW, congratulations, Jeremy, on the new studio!
I appreciate the suggestion! Thanks for that!
Barry Harris says the E is wrong in measure 1 , but he's old school.
Did Barry think of it as Bb maj/D?
@@jonasaras Not sure. The 9th of every diatonic 7th chord is in the scale of the 1 chord (Bb) except the 9th of the 3 chord (Dm7). Nowadays it is generally accepted.
Jobim used a lot of iii chords in his tunes - and usually the natural 9 doesn't work with the melody. Though, in my experience, he'll use the natural 9th during the blowing often enough! glad to know I'm not the only stickler for the 9th on the iii chord though lol
Thank you Tony. Good reminder
@@TonyWinston I think I’m siding with Barry on that. A Dmi7-9 CHORD sounds horrible (-3 and -9 in the same structure). However, using the scale of the I (Bb major) is correct.
Similarly, the vii half-diminished has the same issue. The ninth in the tonic scale creates a mi7b5-9 chord. You either have to not use the -9 in the chord or make it a natural ninth to avoid the vertical harmonic clash.
Studio
Thanks for watching, D Fish H 1!
The E on that Dm7 is wrong because it's the III chord in Bb...
You’re right that E is it outside of the key! Some people might reinterpret that chord as Bb/D. That’s a fine thing to do but definitely changes the color of this tune in particular. I think harmony’s a little bit more nuanced that to say that that note is “wrong,” especially in this context or that a Dm can never have a natural 9 in Bb. It frequently can! We can use notes outside of the key as long as they resolve to notes inside the key. (I’d also say Dm is function as the ii of ii rather than the iii in this case).
hey jeremy i love you but your audio levels are driving me nuts... accidentally woke up everyone in house because previous video was yours and i had to crank up to %90 volume
Oh no! Sorry for that. I’m always working to improve my equipment. Hopefully it will keep getting good better.
Studio!
Thanks for watching, Dan! Happy practicing!