So much enjoyed these ‘reflections’ on the potential crossovers between jazz & classical - super interesting from both a theoretical & practical perspective. Of course, many of the jazz greats, ( as I understand), were (& are) influenced by classical music so this insight was very interesting (& more, if you feel like it, would, personally speaking, be welcome) and helps to break down some of the arbitrary fences we create around different musical genres ( Breaking down boundaries is usually a good thing imho!). Thanks Jeremy, as always - your lessons are complete gems.
That’s a really bizarre coincidence. I was also playing through Reflections in the Water yesterday, and I was also thinking about how I could borrow things from it for jazz, but I was thinking of voicings. Debussy just has so many great voicings! The chord at the start of the Piu P bar at the bottom of the first page for instance (D,G,F,C,F,Bb) , it’s a little difficult to analyze but after thinking about it for a bit I think it’s really a Mi11 with the 5th in the bass. So then I thought what if I turned that into a 2 5 1 exercise? I discovered that chord voice leads quite nicely into a spread upper structure II voicing for C7 (C,Bb,E,A,D,F#,A), and then just to a standard quartal voicing of F6/9 with the root in the outer voices (F,A,D,G,C,F). You have to take out the A of the F6/9 if you do it in the same register as Debussy but it works pretty great up the octave. Anywho so then I took that round the cycle as a 2 5 1 pattern and for the most part I think it works pretty well. I might test it out at my next gig and see if I get any funny looks 😂
So much enjoyed these ‘reflections’ on the potential crossovers between jazz & classical - super interesting from both a theoretical & practical perspective. Of course, many of the jazz greats, ( as I understand), were (& are) influenced by classical music so this insight was very interesting (& more, if you feel like it, would, personally speaking, be welcome) and helps to break down some of the arbitrary fences we create around different musical genres ( Breaking down boundaries is usually a good thing imho!). Thanks Jeremy, as always - your lessons are complete gems.
Thank you, Jeremy four your creative reflections.⭐🌹⭐
Most inspiring video title on You tube! Thank you Jeremy, will be buying your book this year!
This is gold.
I'm so glad you enjoyed it! Happy practicing!
I can reflect on this!
Reflections! 🪞
wonderful reflections on the pictures in the background and awesome video
What a flotation device...for those reflections
Love you and your videos! Thanks for sharing! ✨❣
Thank you sir!!!
Greate tutorial . ..
That’s a really bizarre coincidence. I was also playing through Reflections in the Water yesterday, and I was also thinking about how I could borrow things from it for jazz, but I was thinking of voicings. Debussy just has so many great voicings! The chord at the start of the Piu P bar at the bottom of the first page for instance (D,G,F,C,F,Bb) , it’s a little difficult to analyze but after thinking about it for a bit I think it’s really a Mi11 with the 5th in the bass. So then I thought what if I turned that into a 2 5 1 exercise? I discovered that chord voice leads quite nicely into a spread upper structure II voicing for C7 (C,Bb,E,A,D,F#,A), and then just to a standard quartal voicing of F6/9 with the root in the outer voices (F,A,D,G,C,F). You have to take out the A of the F6/9 if you do it in the same register as Debussy but it works pretty great up the octave. Anywho so then I took that round the cycle as a 2 5 1 pattern and for the most part I think it works pretty well.
I might test it out at my next gig and see if I get any funny looks 😂
Love in your head is a reflection of beauty ✨️
This is deep.......
Excellent stuff, thank you.
Inspiring as usual!
reflections!
Reflections reflecting reflections! This was a very inspiring lesson into the creative process. Your solo piano book is phenomenal! Best always