Playing the Donna Lee shapes on Autumn Leaves is the best improv exercise I have done yet. Not just helpful to get the shapes down but also pretty fun to do. That was some solid advice!
This IS the essence of Parker and all the beeboppers!! Just the litte exercise where you put the approach notes to the third in context sounds like a Bird solo. Could you make some more of these videos? Does your book cover this stuff? If not bring one out!! Thanks
Hey Jeremy! Great lesson, just bought your book and have found a huge amount information to add to my practice routine (specifically the ballad section on a tune like misty). I was hoping you could cover retaining repertoire? Do you have a day dedicated to that during the week or do you just ingrain every tune by practicing in all 12 keys (I still forget these tunes tho). Any help is great and keep doing what you’re doing!
Great - glad you found good stuff in the book. Retaining repertoire is difficult. I would A) keep a list and separate it by tunes you DEFINITELY know, tunes you MOSTLY know, and tunes you sorta know; B) do an hour-long performance twice a week. At a cafe, on Instagram live, SOMETHING to keep you playing. The best way to retain repertoire is to PLAY. C) Remember that memory has three components (at least) - aural, tactile (muscle memory), and intellectual. I would identify which is the weakest/strongest for you and try to improve your weakness and accentuate your strengths. I think playing in all 12 keys is a wonderful exercise, but is usually overly time-consuming and not productive. Playing tunes in just one other key I think is just as useful - it forces you to listen and to really think about the changes. I hope that helps a bit!
Bud Powell has been my favorite pianist for about 25 years. When watching this video, I started thinking about his music, then you said his name. Then when you started playing blues for Alice I started thinking about Bach, then you mentioned Bach. I don’t know what that means but it’s a strange coincidence at the very least. Do you concur?
Hi Jeremy an eye-opener, for real. I really think this concept (strong beat connections) is hardly ever explicitly taught yet it is really an essential principle to sounding bebop legit. I’ve had teachers talk chord scales, licks, rhythm, shapes, etc. This is a jazz nugget. Also, going into 7ths is not as strong as to 3rds, yes? Bought your book, btw!!
Yay! I’m glad you found it helpful, Gene! I do much more practice with thirds than sevens just because they create harmony against the root. They’re both important, but I think thirds are just the most essential.
The compound melodies is blowing my mind right now. The pieces have been in front of me the whole time but I needed someone to show me how to put them together!
please man we need more videos like this. My problem is I can understand everything , transcribe note by note perfectly but when it comes to improvising myself...im lost
This is one of the most lucid and incisive lessons I’ve seen on bebop and Parker’s style, and I must’ve watched 50 masterclasses in the last month! 🤣 you have a real gift for highlighting the most fundamental and key aspects of a subject, hope you keep teaching jazz - a lot of the players can play like Parker brilliantly but they can’t teach it and only talk in abstractions. Your rhythmic and harmonic analysis here are phenomenally helpful as they give the student some useful techniques to experiment with in their own playing. Really enjoyed the lesson! All the best!
Thank you for showing your hands on the keys -- that's so helpful to see the way you set your hands (vs me, who learned piano on his own and play mostly with 3 fingers -- oops!)
Hi Jeremy I think this is one of the most helpful bebop video on yt! Thank you so much! But I still have some issues with this style. For example at the first topic. How do you connect the enclosures?
Do you mean how do you connect "in between" the enclosures? Well, that's a huge question. The easy answer would be, "by using arpeggios and scales." But if you ask a more specific question I might be able to give you a better answer.
This is very helpful. I'm a trumpet player with only rudimentary piano skills - but this is about bebop theory, not technique, I'm going to try this on a few of the war horses (Autumn Leaves, All the Things, etc.). Mega thanks, Jeremy.
Hey Francis! I love having friends in Germany! I have two books that might relate to you - “Jazz Band Pianist” is publishing by Hal Leonard and can be bought through Amazon. My self-published book, “Playing Solo Jazz Piano” can be purchased as a PDF at www.Jeremysiskind.com/shop/ or as a hard copy via Amazon. Thanks for your interest!
So interesting your analysis. I have no idea, but wonder might it be that Parker's melodic shaping was something to do with him playing saxophone and the way that get various intervals on that instrument.
You could be right about the saxophone, but I'm not sure. As I said in the video, I think that shape creates rhythm, and players on virtually every instrument have imitated Parker's shaping.
Thank you Jeremy! I've played a lot of bebop in the past year or two, but i never really figured out bebop improvisation. I tried some of these techniques and finally managed to play something that really sounds authentic. I will definitely be practicing these techniques and using them in my playing. So thank you!
Wow. A seminar in actual composing instead chord-scale numerology. I could say a lot, but as a former drummer - it's not just the snare, lol. What you call compound melody, I always called delayed resolution, and at a higher level than mine, the delays can be real counter melodies. I always told people, there is more to learn in the head of Donna Lee than there is in a year of trying to figure out what scale goes with what chord, because there is only scale and it goes with all the chords - the chromatic scale. lol
Thanks again ! I have read a lot and seen many courses, but you are the first that I know to talk about the concept of compound melody. Maybe not the best term, I see it as a structural element, like the pillars of a building. This concept is obvious in the non-bebop tune of bye bye blackbird. Some of these concept can be seen in the great ‘forward motion’ book of Hal Galper.
Ok ... now... I'm leaving others youtubers jazz lessons .. I finally found THE reference!!!! I really like the way you are teaching! Only 3 videos, and I understood what I struggled with for waaaaayyyyy too long now!!!!! Thanks so much!! I hope you'll enjoy the coffee !!!
@@JeremySiskind I'm wondering if your books can be applied to any instruments... I'm a bass player and as you know, it's a little difficult for us to get outside of the root note ... Or it may be a great idea for another video !!
Jeremy. Thank you so damn much. You helped me get out of a rut. The 1/2 step leading (ascending or descending) into the chord tone on beat 1 and beat 3 really helped me to be more free and melodic when playing bebop. Thank you and bless you.
Hi Jeremy, I started by writhing solos (playing directly is a bit premature for me) following the Donna Lee shape and I liked it a lot, do you think it's ok? I wrote a solo for Whisper Not -first chord C minor- (which has a different chord structure of course), first note G as Donna Lee, trying to find good notes for every chord following closely Donna Lee. Would you reccomend a more loose approch based on the general shape that I remember by memory? I discovered you and your channel a few days ago, I'm already an admirer in terms of your playing and of your pedagogic skills. Thanks for your precious advice! Greetings from Athens, Greece.
Fascinating Bebop breakdown of beats, shapes and melodies. You make it all seem so easy. You have a way of opening up ones mind, and perceptions . . . Again Thank You !
Playing the Donna Lee shapes on Autumn Leaves is the best improv exercise I have done yet. Not just helpful to get the shapes down but also pretty fun to do. That was some solid advice!
Awesome! Have fun with it!
@@JeremySiskind I want to learn this guy's best runs ruclips.net/video/T0KCX2k_9uA/видео.html&ab_channel=rkjp56
About "Be Bop", all the secrets are in any Charlie Parker solo, the more you learn, the more you'll "speak" be-bop. No bird, no Bop.
That seems pretty fair (although Monk repeated claims that he, not Charlie Parker invented it, for whatever that's worth 🤷♂️)
Admire your ideas .do wish audio louder
Wait, is this *jazz legend* Ran Blake???
This IS the essence of Parker and all the beeboppers!! Just the litte exercise where you put the approach notes to the third in context sounds like a Bird solo. Could you make some more of these videos? Does your book cover this stuff? If not bring one out!! Thanks
Hey Jeremy! Great lesson, just bought your book and have found a huge amount information to add to my practice routine (specifically the ballad section on a tune like misty). I was hoping you could cover retaining repertoire? Do you have a day dedicated to that during the week or do you just ingrain every tune by practicing in all 12 keys (I still forget these tunes tho). Any help is great and keep doing what you’re doing!
Great - glad you found good stuff in the book. Retaining repertoire is difficult. I would A) keep a list and separate it by tunes you DEFINITELY know, tunes you MOSTLY know, and tunes you sorta know; B) do an hour-long performance twice a week. At a cafe, on Instagram live, SOMETHING to keep you playing. The best way to retain repertoire is to PLAY. C) Remember that memory has three components (at least) - aural, tactile (muscle memory), and intellectual. I would identify which is the weakest/strongest for you and try to improve your weakness and accentuate your strengths. I think playing in all 12 keys is a wonderful exercise, but is usually overly time-consuming and not productive. Playing tunes in just one other key I think is just as useful - it forces you to listen and to really think about the changes. I hope that helps a bit!
Bud Powell has been my favorite pianist for about 25 years. When watching this video, I started thinking about his music, then you said his name. Then when you started playing blues for Alice I started thinking about Bach, then you mentioned Bach. I don’t know what that means but it’s a strange coincidence at the very least. Do you concur?
It sounds like we should be friends, Yuri! I guess we're thinking along the same lines!
I’m listening to your Debussy recordings on Apple Music right now.. if I wasn’t a guitarist I’d buy all of your books.
@@JeremySiskind man, that album of perpetual etudes is amazing… you can teach AND play!
@@yurib7067 I'm so happy you like them. Thank you, Yuri!
@@JeremySiskind Have you ever read “Dance of the Infidels” by Francis Paudras? Great book
Hi Jeremy an eye-opener, for real. I really think this concept (strong beat connections) is hardly ever explicitly taught yet it is really an essential principle to sounding bebop legit. I’ve had teachers talk chord scales, licks, rhythm, shapes, etc. This is a jazz nugget. Also, going into 7ths is not as strong as to 3rds, yes? Bought your book, btw!!
Yay! I’m glad you found it helpful, Gene! I do much more practice with thirds than sevens just because they create harmony against the root. They’re both important, but I think thirds are just the most essential.
Idon't know If I'm studying a lot or you are speaking slowly but I'm understand ALL you talk and play....
Whoa. I'm glad you're understanding everything! We must both be doing something right!
The compound melodies is blowing my mind right now. The pieces have been in front of me the whole time but I needed someone to show me how to put them together!
Top-notch, pro-level content in every video. Man, you deliver every time!
David, thank you!!! I'm so a appreciative to get feedback. :)
please man we need more videos like this. My problem is I can understand everything , transcribe note by note perfectly but when it comes to improvising myself...im lost
Thanks so much, Enrique! I’m glad it helped!
This is one of the most lucid and incisive lessons I’ve seen on bebop and Parker’s style, and I must’ve watched 50 masterclasses in the last month! 🤣 you have a real gift for highlighting the most fundamental and key aspects of a subject, hope you keep teaching jazz - a lot of the players can play like Parker brilliantly but they can’t teach it and only talk in abstractions. Your rhythmic and harmonic analysis here are phenomenally helpful as they give the student some useful techniques to experiment with in their own playing. Really enjoyed the lesson! All the best!
That's so kind, thank you, Georgie! I'm honored!
Thank you for showing your hands on the keys -- that's so helpful to see the way you set your hands (vs me, who learned piano on his own and play mostly with 3 fingers -- oops!)
No problem! Using 5 fingers will make you way more efficient! 😉
So we should accent the weaker beat instead of the strong ones most of the time?
Yes yes yes!!!
Thank you! The information is great! lets play A Night in Tunisia!
Hi Jeremy
I think this is one of the most helpful bebop video on yt!
Thank you so much!
But I still have some issues with this style.
For example at the first topic. How do you connect the enclosures?
Do you mean how do you connect "in between" the enclosures? Well, that's a huge question. The easy answer would be, "by using arpeggios and scales." But if you ask a more specific question I might be able to give you a better answer.
This is very helpful. I'm a trumpet player with only rudimentary piano skills - but this is about bebop theory, not technique, I'm going to try this on a few of the war horses (Autumn Leaves, All the Things, etc.). Mega thanks, Jeremy.
Great, enjoy, and let me know how it goes!
Hello Jeremy , l am Francis living in Germany ...where can l have your book about the lesson in this Video ... thank you
Hey Francis! I love having friends in Germany! I have two books that might relate to you - “Jazz Band Pianist” is publishing by Hal Leonard and can be bought through Amazon. My self-published book, “Playing Solo Jazz Piano” can be purchased as a PDF at www.Jeremysiskind.com/shop/ or as a hard copy via Amazon. Thanks for your interest!
So interesting your analysis. I have no idea, but wonder might it be that Parker's melodic shaping was something to do with him playing saxophone and the way that get various intervals on that instrument.
You could be right about the saxophone, but I'm not sure. As I said in the video, I think that shape creates rhythm, and players on virtually every instrument have imitated Parker's shaping.
Please make more tutorial about jazz Bebop Piano like this...thanks
Absolutely! That’s the plan!
Great, it's so simple, at 6.36 i have a watershed leap forward at the very moment you smile.. I get it.. Ty.
It was meant to be! :)
Thank you Jeremy! I've played a lot of bebop in the past year or two, but i never really figured out bebop improvisation. I tried some of these techniques and finally managed to play something that really sounds authentic. I will definitely be practicing these techniques and using them in my playing. So thank you!
This is so nice! I’m really happy you found the video useful!
Great lesson but the compound melody concept is really hard to pick up.
It’s complicated but it’s worth it. Stick with it, Charles!
Nice exploration! Next I want a full Schenkerian analysis of Donna Lee! XD
Ruh roh, that’s above my pay grade! 😂
Does your book cover all this?
Nope - working on a new book soon that does more improv. :)
Wow. A seminar in actual composing instead chord-scale numerology. I could say a lot, but as a former drummer - it's not just the snare, lol. What you call compound melody, I always called delayed resolution, and at a higher level than mine, the delays can be real counter melodies.
I always told people, there is more to learn in the head of Donna Lee than there is in a year of trying to figure out what scale goes with what chord, because there is only scale and it goes with all the chords - the chromatic scale. lol
Thanks again ! I have read a lot and seen many courses, but you are the first that I know to talk about the concept of compound melody. Maybe not the best term, I see it as a structural element, like the pillars of a building. This concept is obvious in the non-bebop tune of bye bye blackbird. Some of these concept can be seen in the great ‘forward motion’ book of Hal Galper.
Awesome lesson! Thanks so much for sharing hope you are well God loves you deeply Shalom 🤗🐼❤️✝️💐 Philippians 4:8
Thanks so much , Brad! I’m glad you like it!
This lesson is what I have been looking for for years :D BTW Mozart also changes directions on off beats
Ok ... now... I'm leaving others youtubers jazz lessons .. I finally found THE reference!!!! I really like the way you are teaching! Only 3 videos, and I understood what I struggled with for waaaaayyyyy too long now!!!!! Thanks so much!! I hope you'll enjoy the coffee !!!
That's very kind! I don't claim to have all the answers, but I try to share what I can.
@@JeremySiskind I'm wondering if your books can be applied to any instruments... I'm a bass player and as you know, it's a little difficult for us to get outside of the root note ... Or it may be a great idea for another video !!
Jeremy. Thank you so damn much. You helped me get out of a rut. The 1/2 step leading (ascending or descending) into the chord tone on beat 1 and beat 3 really helped me to be more free and melodic when playing bebop. Thank you and bless you.
Great! So happy to hear that, Ced!
I think this is the video with the Jarrett situation described.
Hi Jeremy, I started by writhing solos (playing directly is a bit premature for me) following the Donna Lee shape and I liked it a lot, do you think it's ok? I wrote a solo for Whisper Not -first chord C minor- (which has a different chord structure of course), first note G as Donna Lee, trying to find good notes for every chord following closely Donna Lee. Would you reccomend a more loose approch based on the general shape that I remember by memory?
I discovered you and your channel a few days ago, I'm already an admirer in terms of your playing and of your pedagogic skills.
Thanks for your precious advice!
Greetings from Athens, Greece.
Nice comment I was visiting your city April 20,1967 Vradiazi became a favorite piece
@@ranblake3165 Thanks Ran. Unfortunately, Athens has changed a lot since then -for the worse.
Thank you, Sensei Jeremy!!!
Lol, my pleasure, Gregory! I'm not sure i've ever been called "Sensei" before.
Donna Leaves? D'autumn Lees? 😉👏👏👏
yep that works passing tones thank you
Awesome, I'm glad you got something out of this, Bill!
just starting bee bop. this was excellent.
Great! I'm happy to hear that, Margaret!
Thank you very much!
My pleasure - happy practicing!
great class , but honestly the highlight of this video was hearing Donna Leaves ! cheers , thanks ...
“Donna Leaves” lol I love it!
Great tutorial! Thumbs up ❤
Thanks for checking it out, Joao!
Fantastic lesson Jeremy. Wish I had found it earlier. Many thanks
Thanks for watching, Ken! I'm glad the algorithm led you here! 😊
Thanks from China!! Such a good explanation for the bebop ❤
Amazing! Thanks for watching from all the way over there!
Thank You!
You're very welcome, Pawel! Happy practicing!
After this video......easy.... I'll play bebop whenever I want.
this is awesome
Nice! Thanks for watching, Rodrigo. I'm glad you got something out of this. More on this topic coming next week!
This is what I've been looking for: melodic lines based on harmonic progression, knowledge and intention of intervals and authenticity.
Thanks very helpful!
Excellent
Thanks much, Mr. Metaphysical Musician!
Brilliant execution of Donna Lee over Autumn Leaves! 😁
Awesome beboplesson !!! Thx for sharing ! 😎
Yeah!
Really helpful stuff. Cheers, Jeremy.
Happy to help, Stuart! Thanks for the comment!
Fantastic lesson - bravo!
Thanks much, Patrick! Happy practicing!
Thanx, Jeremy 🌹🌹🌹🔥
Brenda, you're the bomb! Thanks for the great vibes!
Loved this lesson. Thanks Jeremy!
I will say that u are the best teacher in RUclips
Great lesson!
Thanks so much, Steven! I'm glad you dig it!
Amazing as always! Thank you
Very cler even for begginers
Great! I'm really happy to hear that!
very solid lesson!
Many thanks, KM!
Fascinating Bebop breakdown of beats, shapes and melodies. You make it all seem so easy. You have a way of opening up ones mind, and perceptions . . .
Again Thank You !
I so appreciate it! Thank for taking the time to let me know you like the videos! :)