Hey, Kent I think your videos have change my life. I opened a recording studio and engineered it for maybe 20 years. As work got thin, I worked as a band/keyboard/left hand bass guy. About 10 years ago I taught myself to sing just to stay alive doing daily solo gigs at nursing homes. I very much wanted to do solo piano so I could work nightly on a reg, but I could never figure out how to play like that. Your videos have finally given me the road map.
I am a guitarist I explore keyboards to expand the tonality as a musician. I highly value your generosity of information you share. I want to thank you for being you! I pass it on to others and share your post. Again thank you
The majority of the piano or piano jazz UA-cam tutorials are "learn to play (insert easy song) with bad technique, and are useless for intermediate players. But your channel is really a great source of information, and I always learn something new... not only technique but also advices and useful tips... Great channel!
I can't express how thrill i am when i saw this video. I am an ameture jazz composer in china, where there are not so much resource of jazz for me to learn. I feel so lucky that i found your tutorial on youtube. Thank u very much Mr.hewitt
I just realized that these 3, b7, b3rd voicings are just my 7, 3, 6 voicings I use for dominant chords in a different key! 🤯 (usually with the 2 crowded in as well), I just need to apply them to this different situation! Gershwin uses this in 1st Prelude about 20 measures in. Thanks for your videos Kent, they are keeping me sane during this crazy time
Man, I wish I had bumped into this channel years ago. You are an absolutely brilliant teacher and I thank you from the bottom of my heart for your generosity in sharing. I just bought the download of your 2 volume book - best $50 I will ever spend . Thanks so much Kent. You are very cool.
Thanks! David, first of all... I've only been on You Tube for 16 months, so you would not have had the opportunity bump into me years ago. It's all about one's own evolution....which is about life. Your words are remarkably generous, so thanks again, you are cool, and we are instant buddies!
Always a pleasure to watch your videos and your humorous approach, giving all that valuable knowledge to everyone. It's indeed a famous lick heard in the hands of many pianists. A pleasure to have it demonstrated. Take good care of you Kent. You're the man!
Glad you had a great vacation Kent. Love this lesson, don't know how long it's going to take me to be able to use it but I love the challenge. Thanks for all you do!
Thank you for another awesome lesson. You have changed my life. I practice now, with purpose and anticipation. Your technics and understanding of theory are phenomenal. What's more, I truly understand and can easily apply it all.
This is great! I certainly recognized it from Oscar Petersen. You share some amazing instruction and I'm so grateful. Now I have to understand this more. I can play it but need to comprehend exactly what I'm doing. Once mor thank you Kent.🎹😊
These licks are waaaay cool! I couldn’t sleep tonight so I dropped by for a little therapy but listening to this lesson has been like a shot of java and I will be at the piano until I crash. ...messing around with using these licks in 12th of Never and Danny Boy and I have a Frankie and Johnny for which these licks are going to be killer. ....a great way to change the mood as you tell the story. Thanks Kent. I am such a better musician for your lessons than I ever hoped to be. …and welcome back.
I am a plodding reader of a few tunes (I like Steely Dan) which take quite a while to learn, and play some blues, so really a rank neophyte but your lessons open some great channels for improvement. You are wonderfully generous to do this. Thanks very much.
Stephen, thank you for your kind words. I learn things myself by preparing , practicing. and doing these videos. Over time some of it I retain, but I always try to challenge myself. So it's good to hear your comments.
I love using this idea with the shell of the those voicings as in two notes in the left hand the 1 and major 7. It's also a great way to break down the hand shapes of "white and black" and "black and white" keys that your 1st and fifth finger fall on (exception C major 7 and F major 7 where they rre both "white" notes in left hand.....love you Kent-thanks for the best videos
Hi Kent, I adore this kind of chord progression and I locate them immediately when somebody plays them, but that goes too fast and I never understand what is going on. And there, with your explanations, you let in me to the secret of these wonderful chords, which I like since for so long … Thank you for letting in me to this world so magic … You are great ! I shall never say rather thank you...
Thanks, John...actually I know how you feel, because I felt that same way at one time. There's always more to be learned, and I learn from every video I do. I appreciate the comment!
Today I talked to a friend who plays too, and I told him to watch and listen your vidéos. I explained him "that how works the piano in a jazz mood". Right ?
Hey Kent! This sound has always fascinated me. I first came across it (but never really knew what was happening harmonically/beyond my understanding at the time) when I was learning/playing Gershwin's Prelude I. If you aren't already hip to this, check it out (specifically measures 20-30). In measure 21, Gershwin outlines a structure from the "G Family: Bb7 - Db7 - E7 - G7 resolving to Cmaj7. And in measure 29, he outlines a structure that is built up a step (temporarily resolving to Dmaj7, Dm6, Dmaj6). Anyway, the video that you put together helped me better understand how to put this musical device together for myself (in a more coherent way: to myself!). THANKS SO MUCH!
Jeeeez the info you offer here. This alone will keep me busy. I actually fully understand how this all fits together. But it will take a lot of practice. Thankyou sir!
from an aspiring sax man, thank you so much ... over my head sometimes but fun to try out on the piano and get in my ear. Diminished and anything to do with gypsy tetrachord blow my mind!
Roger, you're the man. bro.! Thanks so much!...I'm just winging it...then when I hear from you, you are such a great player, you make me feel so good. So lots of thanks for taking the time to write... and how are things out your way, and how are YOU doing? Would love to hang- out someday.
Hi Kent. Greeting from sunny Wales. Apart from using these dim. chords as V -Is, I really like using them to approach secondary chords such as II and VI. Obviously, like any device , they could be overused but, as you point out so clearly, they are extremely useful and cool sounding. Thanks again, for your generosity in proving these super lessons.
Great comment, especially about overuse. All of these great techniques are like spices in an improvisational recipe - you don't want one flavor to be overbearing. :-)
Thanks, Roger, for the supportive comment. Like I said at the end, this is a tip or tidbit, in the way a taste of spice adds something, it's not an essential. But it still is a cool sound, but not to be over-used. As an example, too much use of pentatonic scales makes the music sound contrived and boring. We need to mix all sorts of musical ingredients together to make a great musical salad...ya dig? Thanks Mal from sunny Wales (I was there). And, yes, you can approach any chord in the system from it's related secondary dominant.
Twas great! Learning lots of music lately. I played lounge music in an graduation banquet recently. they paid me because they appreciated it. I also appreciated it! Also thanks alot to you for helping me achieve this!
I love this sound thanks for the video. i learned about the altered scale in music theory and its so cool sounding but confusing. id like more videos of complicated sounds made easy. thanks
Love you Ken, and the horses! Great tip, particularly useful as it adds instant sophistication to the 5 chord... Many thanks :) Looking forward to your next lesson.
Things are very busy now...with gigs, rehearsals, and a big concert coming up in Maine...so the vids will be limited, Until August/ Sept. Go here for 100 free videos: ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Good stuff, yeah same here. Busy summertime now, also Love Supreme Festival starts next weekend, with Brad Mehldau, Esparanza Spalding, Stanley Clarke, Average White Band amongst others... Big one for UK! Thanks for the link and thanks again for categorising the videos so well, very helpful. Always nice to check in with you and your masterful tutorials. All the best for the Maine Concert Kent, Swing Loose!
Hey Kent. Welcome back with a super vid right off the bat. One scary thing: you talked about doing fewer technical videos such as this. PLEASE keep the heavy stuff coming! Finding this channel has been one of the turning points in musical life. Can't thank you enough.
David, that's a really great comment, and does my heart good. Without comments like yours, I couldn't do this. Positive feedback is so important. Many thanks!
This concept is amazing! I used it tonight and it got a huge pop, or positive reaction from friends as you said! I'm a huge fan of yours! I do have a question about the Jazz piece impressions by John Coltrane. I just joined the Jazz band here in NYC at SJU and we're doing this. What are so improvisation techniques I can apply in this song and how would you approach it? It stays on Dm for 16 bars so is there a way I can play outside the changes, deviating from or adding to Dorian mode?
Kent, out of the ENTIRE WORLD of YouChewed, out of the what-four billion uploads to choose from? I search for something as simple as "diminished chord jazz piano" and YOURS are the only videos that have any true meaning and feeling to them . . . others are bogged down in obscure discussions about theory or just are too simplistic or too COMPLEX for understanding, but yours get to the nitty-gritty-you play THE chords my mind wants to hear and after that it's all just Listen, Copy, and Practice. Thanks, dude, and I'll be back to you in a year or so, after I've practiced these chords until my fingers escape through the barbed wire.
The feeling is reciprocal, Kent! As I probe deeper into the vagaries of the white and black keys I find them easier to understand through the filter of your videos, because of all the pretenders floating around on UA-cam, yours are the finest on the subject of piano-and I'm not the only one who thinks so. A friend of mine who is the senior editor of the American Psychiatric Journal with whom I share a blog told me that one of his colleagues is someone of my rough age (60) and doing the same thing, ie., rediscovering the piano, and he had been especially studying videos, and just by chance my friend mentioned "Kent Hewitt" and the guy said "Yes! That's the guy I watch! How did you know?" So I'm not the only one. Every day I'm sitting down at the piano with a new gift to myself-a laptop stand for the piano (impossible to find! Especially to sit on top of a Nord Electro + a Kurzweil!) and I'm slowing your videos down to 50%-the only way I can hear exactly what those Altered Diminished chords are, since I don't read music-and I must say it’s a great way to laze through the haze of a summer heat wave! So . . . see you in a minute! Keep 'em coming! --Nick
Kent Hewitt no problem sir I really appreciate it, I have no problem voicing chords and stuff like that, its just improvising that I really have a problem with, It's like i just can't seem to get it
Fabulous lesson. Thanks. I was trying to download the pdf to this lesson, but couldn't find it. I'm a guitar player and although I understood what you were saying, the finger work was for pianist. I need to move what you've done to work on the guitar in many positions. Is there a way for you to repost the pdf? Thanks again for this lesson.
Please write to me and I'll send you then PDF in an email. Also you'll find it in my Appendix to my book. It will be different for a guitar but you'll see how it's voiced on the piano.
Great vid, once again, Kent. I've definitely heard and played these many times. To me, they sound most like Herbie and/or Chick. Thinking of them as major triads with the b9 in the bass is another interesting way to visualize them. So for your first example in the F family you get: B/C D/Eb F/Gb Ab/A. And one more thing. For an fairly simple, full sounding 6-note voicing, you can play the structures you show for the LH while your right hand plays any of the four major triads from the family, so for F that would be F Ab B or D triad in the RH. The cool thing about these is that you can move LH and RH in parallel motion or, if there is enough space between the hands, in contrary motion for a very hip and modern sound. Keep swinging and thanks for sharing your expertise.
Thanks, mdmellis for the additional tips. Actually the right hand voicings you mentioned I had included on my free download...I just didn't want to take extra time on the video to explain. I usually play these the way I showed, but it's good to be flexible. Your other idea is interesting ...and I use some of those voicings as upper structure comping esp. the F13 w/ b7th on bottom, 13th on top in LH, and F triad in RH, and moving that up and down. When are you starting YOUR tutorials?
Welcome back Kent! Hope you had a great vacation. Great lesson! I got a piano while you were away so no more practicing on a keyboard. Picked up a Yamaha C-3 6' Baby grand :) I will start working on this lesson out today when I get home from work.
Cool clip! Great explanation! I do this, with different execution. I play the 3rd of the chord in my left hand and a triad in in 2nd inversion of the major chord a half step below the note I'm playing in my left hand. i.e. C in left hand B 1st inversion (F#, B,D#) triad in right hand. And of course I move everything up by minor thirds.
Hi Kent, are there any similar chordal licks for the augmented or wholetone scale? If so, could you do a video on these please. Thanks. Having lots of fun putting these licks into a few funk tunes I'm working on. They certainly give a lot more color to an arrangement. Lots of good info here.
Adam, I haven't put together a score using augmented and whole tone scale licks, but I think that is a good suggestion. Can I put it on my to-do list? I learn a lot from my students and that makes teaching so rewarding. Thank you, sincerely.
This may be one of the most difficult lessons to get a clear understanding of as it is one of the most dissonate series of chords you have I believe up to now generated as a lesson. One thing that is also important is how these chords relate to other less dissonate chords that one is using in the song.. For example, a C major 6 beside one of these chords may sound out of place due to lack of dissonance in the chord. If that makes sense to anyone ..lol:)
Love Italy....and like the most interesting man who visits Capistrano early March so that the swallows will return when he arrives. Classical piano is the ultimate (Chopin kills me) and jazz is the alternative. Both great. Thanks...and goodbye from the CT shores!
Chopin is so sensitive and strong at same time when he plays. You know the the "drop", right? That's what I think when I say it. Jazz can sensitive and strong at same time. I love Brubeck and Evans. Waltz for Debby! Such a composition. Jazz and Chopin's composition are different, but they both hit my soul! I hope to learn more in this channel and find new sounds in jazz! Bye!
You are right. Learning the altered diminished scales changed everything for me. Thank You. How do I print out some of the scale patterns for practice?
As always it is very interesting and helpfull lesson. A lot of examples how to use presented material, in concret and friedly atmosphere, thank you. (I am from Poland, not English speaker, but music is everywhere the same ;) )
Thank you for the lessons. I enjoy them all and use them to keep up at my age. I do think you need to have someone touch up the tuning of your Mason & Hamlin. Reuben
You're right. It could probably use a tune- up. We had it tuned 2 months ago but it's summer now and the weather goes from hot and humid to cool evenings. We don't keep the air conditioning on constantly because we live in New England. Sorry... (what do you want for free?.... perfection?)
Kent, I've joined a really good combo- I'm still in high school- but I've been having a lot of difficulty comping effectively on chord progressions to tunes I haven't played before. There's just so much information going through my head, should I play chords with two hands here, where is the melody note, will there be a clash if I play this altered structure, what harmonic rhythm should I play for the soloist. The torrent of thoughts is overwhelming. How do I quickly learn to play chords effectively on tunes I don't know? And on another note, I accidentally discovered that chordal pattern myself a couple of weeks ago when I was taking that voicing round the keys, great sound.
Hey Tom, I wish I could do a Skype lesson with you because I can help you a lot with this. Don't pay much attention to this video, because it is not that essential to over-all comping. In the meantime please check out all my comping videos here: ua-cam.com/play/PLFuMibnl_h5abmY90whS2VekI4jABbFUoWrite.html to me! thanks!
Good...I left a message on your previous comment. For whatever reason UA-cam is eliminating annotations, and addind end screen elements...so I can fix the link.
def thumbs up.. I had to watch this several times to see where you got the why you picked c eflat gflat and a then it hit me duuh those are the notes of the diminished chord. so by playing these notes you automatically get the flavor notes..flat9 sharp9 sharp 11 a 13 and of course the good old dominant flat 7... when played as a scale they sound right but when played as patterns they take a life of their own..
I've recently started to investigate Barry H's 6th-diminished scale and also the diminished approach to altered dominants and came across your wonderful website and UA-cam videos. Here's my question: I understand how to use a sequence of 4 (or less) diminished chords to approach a I (or i) chord in a chordal fashion, but what about possible scales to play over some of these diminished chords? I assume I can play diminished scales (half-whole) over each diminished chord (functioning as an altered dominant), but are there other scale possibilities? Specifically, over a C7 going to Fmaj, if I instead played an Eb alt (using diminished chord form) going to Fmaj, would I pretty much just choose from diminished half-whole scale over the Eb alt, or could I possibly play a completly altered dominant run over the Eb alt? I know I can experiment myself (and I do), but I thought it would be nice to hear what a pro does/thinks in such situations. Thanks again for the great videos.
The diminished scale (or altered dominant scale) is just one type of dominant scale you can use. What you are asking can't be a short answer. Check out my tutorials for other options namely: mixolydian, super locrian, Lydian flat 7, whole tone, b7 pentatonic, etc, etc. I cover a lot of these scales in my book. Thanks for writing!
Hey Kent! Thanks for the tutorial. I'm quite new to Jazz and all, and for the sake of keeping up a disciplinated practice routine up, I started to work through Levine's Jazz book. Do you recommend it or can you suggest another useful book that gives insights into jazz theory from another viewpoint? I personally like it and will stick to and see where it leads me.. Just wanted to know about other materials out there and your opinion :)
You should check out my own book which is the results of years of teaching and reflects my You Tube concepts. I think Levine's book is very good but another take on it would be this :www.kenthewitt.com/id31.html
I think you meant bass notes. The families all form a diminished chord, which is building minor 3rds. C= C ,Eb, Gb, A. F= F, Ab, B, D. G= G, Bb, Db, E. That totals out to 12 tones...all the tones of the chromatic scale.
I shall rule the world with this lick ! Thank you. I have a question: what if the tune is in a minor key? what "dominant" would you used? For example, if they key is Em, would you use B7#9, D7#9 F7#9 ?. (Ive just seen you have already answered this below! ) Ive also been playing with this lick, using the 13 chord, instead of the #9. Do you think this works?
Hi Kent, great video! I have a question for you.. You mentioned resolving to different roots: I'm wondering if you could play around in the G family of altered dominants (with a G in the bass) and then resolve to, say, an Eb? I'm realizing that the G family includes an altered Bb7, and I'm wondering if you would rule out that resolution since there isn't V-I motion in the root. Thanks in advance for any input.
You might want to try the V-I resolution and then the tri-tone substitute variation which would resolve down a half-step. Bass line movement is always paramount even if it's implied. So the strongest movement is cyclical (V-I) or chromatic bII-I , or stepwise. I should do another video on this but you might enjoy experimenting with different resolutions as I did at the end of this video.
Mr. Hewitt: I am missing something important here. I understand why the G family of alt chords would nicely resolve to a C-major (just a V - I progression, yes?) but why does it work to resolve to other major chords and which would those chords be? Is there some modal theory that explains it a bit? The reason I ask is that I'm wondering how to chose the correct "family" of this beautiful alt-diminished sequence for approaching a target chord, like a major. Finally, can the sequence be used to approach a non-major chord like a diminished to fill in those long periods where one has a diminished chord in a song? My thanks.
Wow, good question! First of all, the altered dominant 7th chords in a family (say G) share the same 1/2 tone -whole tone scale and that scale can function as a means to resolve to C major or any of the major chords in a V-I manner from the other roots of the family members. So G7 resolves to C, and Bb7 resolves to Eb. In addition Db7 can resolve to Gb (V-I) or function as a tritone substitute of G7 and resolve down 1/2 step to C. But there's an additional aspect of this fascinating relationship... and that is that the Bb7 can resolve down a 1/2 step to an Am7 which is a II in G, and can then move to D7, and then resolve to G. To answer your last question dominant 7th chords and diminished chords function much the same...they are tension chords wanting to resolve and sometimes can be sustained for a long time (esp. in classical music to build up the tension for the final resolution). And then often it doesn't resolve to I. It could resolve to a relative minor or a b6. Or go around the cycle of 5th. Dominant 7ths tend to move in cycles and diminished chords tend to move chromatically. Now you can see the potential of your question? Many thanks! Keep writing.
I thought my Super Lydian scale video covered that. Did you watch that? Please write to me again and I'll do another video. Check here:ua-cam.com/video/lbpenXVeHlI/v-deo.html
Hello Mr Hewitt, it seems the link to the sheet music is outdated. I also have your book and I can't find this chordal lick in there. Any suggestions ?
Glad you're back 'on track' (geddit?), favourite (geddit?) Maestro! Did work out the diminished bones of these riffs some time ago but as usual, your showing the theory gives a richer full sound to them at last! Thanks as ever. Do you have a gig(s) in CT on or around July 4/16? Might well be down from Canada at nephew's nr Bethany/Seymour CT and would like to catch you playing.
Cool...thanks for the welcome. At this point, no gigs in that area at that time. I'll let you know if something comes up. In the meantime, have fun and swing loose!
Great tutorial, thanks so much! Question: Even though an e.g. G diminished 7th ascending pattern of 7th sharp 9 chords could always resolve to the root chord of the last chord as if that chord were the dominant, it always seems to want to resolve to F major. Why is this?
A G diminished chord is really functioning like a C7b9 which will always resolve to F major. The notes move up or down 1/2 step to resolve or stay stationary. The G will move to F or A.
I don't know if anyone has said this already, but an easier way that I look at is by thinking auxiliary diminished which is half whole diminished scale. So with this concept I think of the G Diminished 7th chord G-Bb-Db-E and then I think of the diminished 7th chord a half step up which is Ab Diminished 7th chord in this case. Ab Diminished 7th chord Ab-B-D-F. Okay now take the single notes from the diminished 7th chord a half step up and use them for your left hand then use the single notes from from your 5 bass diminished 7th chord and play the 2nd inversion major chord for each bass note. The chords will be Ab/D-G-B, B-Bb-D-F, D/Ab-Db-F, F/B-E-Ab. They work out to be the same exact notes just a different way of arranging it between the left hand and right. Hope this helps someone. Thanks for the video!!!
Many thanks for the comment....This specific video was a follow -up, I believe I did cover this material in a pervious video , but I'm going to please ask you to confirm that, by requesting you to watch this: ua-cam.com/video/8A41X1RbKdk/v-deo.html
Yes exactly!!! Great video by the way. All I'm saying is I'm using that scale to think right hand major chords in 2nd inversion for the root diminished 7th bass notes and the left hand are the single notes from the diminished 7th chord a half step up from the root bass notes. So instead of your Ab-D-G/B I think Ab/D-G-B which how I remember really fast by thinking 2nd inversion major chord half step lower from bass note. Music is amazing. Going to learn a lot from your videos!!!
Thanks, Janet. I try to look the part of a "jazz cat". Don't forget all the free music downloads on my website. Here's a list of my videos in categories: ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylistsCheck out my book here:www.kenthewitt.com/id31.html
![Intro To ALTERED DOMINANT Chords [SONGWRITING / JAZZ / MUSIC THEORY]](http://i.ytimg.com/vi/63-PX9XvrKg/mqdefault.jpg)
You save aspiring players years of trial and error by sharing your knowledge! You're an inspiration, thanks Kent!
I'm grateful to have the opportunity to pass it on. I'm glad it's an inspiration and appreciate your comments!
Hey, Kent
I think your videos have change my life. I opened a recording studio and engineered it for maybe 20 years. As work got thin, I worked as a band/keyboard/left hand bass guy. About 10 years ago I taught myself to sing just to stay alive doing daily solo gigs at nursing homes. I very much wanted to do solo piano so I could work nightly on a reg, but I could never figure out how to play like that. Your videos have finally given me the road map.
Wow, finally advanced chord lessons that I can understand!
Thanks a great comment...made me feel good!
I am a guitarist I explore keyboards to expand the tonality as a musician. I highly value your generosity of information you share. I want to thank you for being you! I pass it on to others and share your post. Again thank you
Many thanks for the kind and complimentary comments! Your comment gives me the encouragement that I need to continue passing on the knowledge. .
The majority of the piano or piano jazz UA-cam tutorials are "learn to play (insert easy song) with bad technique, and are useless for intermediate players.
But your channel is really a great source of information, and I always learn something new... not only technique but also advices and useful tips... Great channel!
Thanks for the positive feedback...much appreciate!
I can't express how thrill i am when i saw this video. I am an ameture jazz composer in china, where there are not so much resource of jazz for me to learn. I feel so lucky that i found your tutorial on youtube. Thank u very much Mr.hewitt
Many thanks, Jackie Ye, for the positive comment and affirmation. I'm truly delighted that you feel fortunate having found me.
Thanks a lot Kent for sharing your knowledge. You are an excellent teacher
I appreciate the affirmation. Keep watching!
Thanks Kent! I've been trying to do this by ear for years. Now I've got it nailed (at least in my head.)
I'm glad I could help out...thanks for the affirmation.
Ken, I love your teachings. You have really touched my soul with your style. You are one of the greatest pianist. You make me want to sing with you.
Hi D'bra...and thanks! I'd love to hear you sing....I've worked with many singers through the years, and pride myself as a good accompanist.
I haven't studied piano . but from your videos i am learning these cool chords, progressions and modulations. thanks kent
That's great!
I just realized that these 3, b7, b3rd voicings are just my 7, 3, 6 voicings I use for dominant chords in a different key! 🤯 (usually with the 2 crowded in as well), I just need to apply them to this different situation!
Gershwin uses this in 1st Prelude about 20 measures in. Thanks for your videos Kent, they are keeping me sane during this crazy time
I'm glad to hear that and thanks for telling me. I'm glad to fill in the gap.
Man, I wish I had bumped into this channel years ago. You are an absolutely brilliant teacher and I thank you from the bottom of my heart for your generosity in sharing. I just bought the download of your 2 volume book - best $50 I will ever spend . Thanks so much Kent. You are very cool.
Thanks! David, first of all... I've only been on You Tube for 16 months, so you would not have had the opportunity bump into me years ago. It's all about one's own evolution....which is about life. Your words are remarkably generous, so thanks again, you are cool, and we are instant buddies!
Always a pleasure to watch your videos and your humorous approach, giving all that valuable knowledge to everyone.
It's indeed a famous lick heard in the hands of many pianists. A pleasure to have it demonstrated.
Take good care of you Kent. You're the man!
Thanks for the nice comment. I'm glad you like the humor 'cause that makes it more fun and looser for me.
Glad you had a great vacation Kent. Love this lesson, don't know how long it's going to take me to be able to use it but I love the challenge. Thanks for all you do!
This is kind of advanced but I'm glad you like it, and thanks for the comment and welcome back!
Thanks Kent ! Your breakdowns, observations, so insightful will kick start me in many new directions. Peace
That's really great to hear, and thanks for telling me!
Keep it coming !! So appreciate :)
Welcome back, Kent. Thanks again for yet another super lesson.
Mel, glad to be back and thanks for the welcome!
Thank you for another awesome lesson. You have changed my life. I practice now, with purpose and anticipation. Your technics and understanding of theory are phenomenal. What's more, I truly understand and can easily apply it all.
That's a great comment, and I'm very happy you told me. Thanks!
This is great! I certainly recognized it from Oscar Petersen. You share some amazing instruction and I'm so grateful. Now I have to understand this more. I can play it but need to comprehend exactly what I'm doing. Once mor thank you Kent.🎹😊
These licks are waaaay cool!
I couldn’t sleep tonight so I dropped by for a little therapy but listening to this lesson has been like a shot of java and I will be at the piano until I crash. ...messing around with using these licks in 12th of Never and Danny Boy and I have a Frankie and Johnny for which these licks are going to be killer. ....a great way to change the mood as you tell the story.
Thanks Kent. I am such a better
musician for your lessons than I ever hoped to be. …and welcome back.
I'm very happy yo hear that you could have some productive time put in when you couldn't sleep. I wish I could do that more often!
I am a plodding reader of a few tunes (I like Steely Dan) which take quite a while to learn, and play some blues, so really a rank neophyte but your lessons open some great channels for improvement. You are wonderfully generous to do this. Thanks very much.
Stephen, thank you for your kind words. I learn things myself by preparing , practicing. and doing these videos. Over time some of it I retain, but I always try to challenge myself. So it's good to hear your comments.
Great, clear and inspiring as always. Dudes who clicked thumbs down should really step back and learn something.
Thanks for the affirmation and support. The thumbs down people don't usually comment, but sometimes comments can be weird.
Nice! I'll definitely be checking out your other jazz videos as well. Thank you for taking the time to record these!
I love using this idea with the shell of the those voicings as in two notes in the left hand the 1 and major 7. It's also a great way to break down the hand shapes of "white and black" and "black and white" keys that your 1st and fifth finger fall on (exception C major 7 and F major 7 where they rre both "white" notes in left hand.....love you Kent-thanks for the best videos
And thank you for your perceptions....which are accurate and wise. The encouragement is pure gold.
Hi Kent,
I adore this kind of chord progression and I locate them immediately when somebody plays them, but that goes too fast and I never understand what is going on. And there, with your explanations, you let in me to the secret of these wonderful chords, which I like since for so long … Thank you for letting in me to this world so magic … You are great !
I shall never say rather thank you...
Of course, I"m yet far from this, to use it. But allready, I can understand, and only this is great for me !
Thanks, John...actually I know how you feel, because I felt that same way at one time. There's always more to be learned, and I learn from every video I do. I appreciate the comment!
Today I talked to a friend who plays too, and I told him to watch and listen your vidéos. I explained him "that how works the piano in a jazz mood". Right ?
I always cheer when i watch any of your tutorials cause i know i will learn many new things ☺️😘
From Guatemala, thanky you very much for this gift! Keep doing more videos please! you are an amazing teacher!
Thanks for the affirmation and compliments. Here they are:ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
You're a great pianist and a great pedagogue !!! Thanks
Hey Kent! This sound has always fascinated me. I first came across it (but never really knew what was happening harmonically/beyond my understanding at the time) when I was learning/playing Gershwin's Prelude I. If you aren't already hip to this, check it out (specifically measures 20-30). In measure 21, Gershwin outlines a structure from the "G Family: Bb7 - Db7 - E7 - G7 resolving to Cmaj7. And in measure 29, he outlines a structure that is built up a step (temporarily resolving to Dmaj7, Dm6, Dmaj6). Anyway, the video that you put together helped me better understand how to put this musical device together for myself (in a more coherent way: to myself!). THANKS SO MUCH!
Your lessons are really great. Thanks so much for all these great videos. Finally find an amazing teacher
Thank you for the great affirmation....keeps me going!
Kent is the man. I heard this in Grusin's version of Two For The Road & it rang the awesome bell. Many thanks for another great lesson.
Great Mancini song...and Grusins' one of the premiere players. ....I wish I was in that league.
Me too. Trying to play Dave's Memphis Stomp. Ain't easy but like it mucho.
All I can say is "I love your videos!" This lesson is great. Thank you so much!
Thanks for the supportive words...much appreciated!
Jeeeez the info you offer here. This alone will keep me busy. I actually fully understand how this all fits together. But it will take a lot of practice. Thankyou sir!
You're not alone...it takes practice for me and I didn't even get to showing the voicings converted to the right hand positions. Thanks!
KENT!! Welcome back my friend, hope you had a wonderful vacation. Again, thank you so much for the knowledge
My pleasure, great to be back and thanks for the welcome!
Thanks for the examples..... I finally get it!!!!
Thanks for telling me!
from an aspiring sax man, thank you so much ... over my head sometimes but fun to try out on the piano and get in my ear. Diminished and anything to do with gypsy tetrachord blow my mind!
Thanks for the kind words of affirmation. I'm glad my lessons are helpful, and are often intended for more than just pianists.
You nailed it again, Ken. Great lesson!
Roger, you're the man. bro.! Thanks so much!...I'm just winging it...then when I hear from you, you are such a great player, you make me feel so good. So lots of thanks for taking the time to write... and how are things out your way, and how are YOU doing? Would love to hang- out someday.
I follow lot2learn, do you follow jazz2512?
Glad you're back, we missed you! Thanks for another great lesson Kent!
Good to be missed, and I missed you guys too. Thanks for the loyal support!
I play guitar and I'm getting a lot of cool ideas from your videos. Thanks, Kent!
Love guitar. Piano and guitar- great duo.... one of the best. Been doing it for years. How about you? Thanks for the comment!
very nice tutorial and very cool sounding chords!! learned a lot! Thank you!
Thanks for the nice affirmation...it keeps me going!
Your lessons are awesome. Thank you!
Hi Kent. Greeting from sunny Wales. Apart from using these dim. chords as V -Is, I really like using them to approach secondary chords such as II and VI. Obviously, like any device , they could be overused but, as you point out so clearly, they are extremely useful and cool sounding. Thanks again, for your generosity in proving these super lessons.
Great comment, especially about overuse. All of these great techniques are like spices in an improvisational recipe - you don't want one flavor to be overbearing. :-)
Thanks, Roger, for the supportive comment. Like I said at the end, this is a tip or tidbit, in the way a taste of spice adds something, it's not an essential. But it still is a cool sound, but not to be over-used. As an example, too much use of pentatonic scales makes the music sound contrived and boring. We need to mix all sorts of musical ingredients together to make a great musical salad...ya dig? Thanks Mal from sunny Wales (I was there). And, yes, you can approach any chord in the system from it's related secondary dominant.
Mason & Hamlin- one of my favourite pianos
Definitely mine too!
YES! You are finally back! I was waiting for you! I am so glad
Great to be back and to hear from you, Razzie. How's your music going!
Twas great! Learning lots of music lately. I played lounge music in an graduation banquet recently. they paid me because they appreciated it. I also appreciated it!
Also thanks alot to you for helping me achieve this!
Hello Ken
welcome Back!!!
I was waiting for your video lesson for a long time and today I'm so happy!!!
Thanks again
Angelo, thanks for touching my heart with your sincere and warm comment! Please stay in touch. Kent
It's a really great lesson Kent, thanks again !
I appreciate your telling me!
I love this sound thanks for the video. i learned about the altered scale in music theory and its so cool sounding but confusing. id like more videos of complicated sounds made easy. thanks
Glad it was helpful!
Nice to see you back Kent hope you had a nice time away.
Thanks, Paul, hope all is well with you. Glad to be back!
Your welcome doing fine thanks.
Paul
Man you are a great teacher. Thank you so much & even provide score. Kent is number ono. Heard O.P. do this many times & never had a clue.
Thanks, Lewis. We both we're very fortunate to have heard O.P. live...nothing like it, and nobody like him.
Love you Ken, and the horses!
Great tip, particularly useful as it adds instant sophistication to the 5 chord... Many thanks :)
Looking forward to your next lesson.
Things are very busy now...with gigs, rehearsals, and a big concert coming up in Maine...so the vids will be limited, Until August/ Sept. Go here for 100 free videos: ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists
Good stuff, yeah same here. Busy summertime now, also Love Supreme Festival starts next weekend, with Brad Mehldau, Esparanza Spalding, Stanley Clarke, Average White Band amongst others... Big one for UK!
Thanks for the link and thanks again for categorising the videos so well, very helpful. Always nice to check in with you and your masterful tutorials. All the best for the Maine Concert Kent, Swing Loose!
Hey Kent. Welcome back with a super vid right off the bat. One scary thing: you talked about doing fewer technical videos such as this. PLEASE keep the heavy stuff coming!
Finding this channel has been one of the turning points in musical life. Can't thank you enough.
David, that's a really great comment, and does my heart good. Without comments like yours, I couldn't do this. Positive feedback is so important. Many thanks!
Cory Henry does this all the time. I'm a new fan and student from South Africa Mr. Hewitt.
Right, Cory Henry. Thanks for "hipping" me. Someone I know just told me they're going to S. Africa. I was fascinated!
This concept is amazing! I used it tonight and it got a huge pop, or positive reaction from friends as you said! I'm a huge fan of yours! I do have a question about the Jazz piece impressions by John Coltrane. I just joined the Jazz band here in NYC at SJU and we're doing this. What are so improvisation techniques I can apply in this song and how would you approach it? It stays on Dm for 16 bars so is there a way I can play outside the changes, deviating from or adding to Dorian mode?
Kent, out of the ENTIRE WORLD of YouChewed, out of the what-four billion uploads to choose from? I search for something as simple as "diminished chord jazz piano" and YOURS are the only videos that have any true meaning and feeling to them . . . others are bogged down in obscure discussions about theory or just are too simplistic or too COMPLEX for understanding, but yours get to the nitty-gritty-you play THE chords my mind wants to hear and after that it's all just Listen, Copy, and Practice.
Thanks, dude, and I'll be back to you in a year or so, after I've practiced these chords until my fingers escape through the barbed wire.
Don't leave me for so log. Your comments are the best, Kamakiri I really appreciate it!
The feeling is reciprocal, Kent! As I probe deeper into the vagaries of the white and black keys I find them easier to understand through the filter of your videos, because of all the pretenders floating around on UA-cam, yours are the finest on the subject of piano-and I'm not the only one who thinks so. A friend of mine who is the senior editor of the American Psychiatric Journal with whom I share a blog told me that one of his colleagues is someone of my rough age (60) and doing the same thing, ie., rediscovering the piano, and he had been especially studying videos, and just by chance my friend mentioned "Kent Hewitt" and the guy said "Yes! That's the guy I watch! How did you know?"
So I'm not the only one.
Every day I'm sitting down at the piano with a new gift to myself-a laptop stand for the piano (impossible to find! Especially to sit on top of a Nord Electro + a Kurzweil!) and I'm slowing your videos down to 50%-the only way I can hear exactly what those Altered Diminished chords are, since I don't read music-and I must say it’s a great way to laze through the haze of a summer heat wave!
So . . . see you in a minute! Keep 'em coming!
--Nick
Kent glad you are back and this lesson is super. You may have to write a new book.
A colleague suggested a book of be-bop tunes with the fingering for pianists written in. What do you think? Thanks!
Hey man thanks for your videos and tutorials, I'm an aspiring jazz pianist and you've really helped me a lot, you've answered so many of my questions
That's a great comment and that keeps me going. Thanks!
Kent Hewitt no problem sir I really appreciate it, I have no problem voicing chords and stuff like that, its just improvising that I really have a problem with, It's like i just can't seem to get it
thanks again mr Kent I've watched it
soo greatful
I'm glad you like this...It is my pleasure...and thanks for the comment!
Great lesson again, you explain so well.
I always strive for that, so I appreciate your affirmation vey much!
Fabulous lesson. Thanks. I was trying to download the pdf to this lesson, but couldn't find it. I'm a guitar player and although I understood what you were saying, the finger work was for pianist. I need to move what you've done to work on the guitar in many positions. Is there a way for you to repost the pdf? Thanks again for this lesson.
Please write to me and I'll send you then PDF in an email. Also you'll find it in my Appendix to my book. It will be different for a guitar but you'll see how it's voiced on the piano.
Great vid, once again, Kent. I've definitely heard and played these many times. To me, they sound most like Herbie and/or Chick. Thinking of them as major triads with the b9 in the bass is another interesting way to visualize them. So for your first example in the F family you get: B/C D/Eb F/Gb Ab/A. And one more thing. For an fairly simple, full sounding 6-note voicing, you can play the structures you show for the LH while your right hand plays any of the four major triads from the family, so for F that would be F Ab B or D triad in the RH. The cool thing about these is that you can move LH and RH in parallel motion or, if there is enough space between the hands, in contrary motion for a very hip and modern sound. Keep swinging and thanks for sharing your expertise.
Thanks, mdmellis for the additional tips. Actually the right hand voicings you mentioned I had included on my free download...I just didn't want to take extra time on the video to explain. I usually play these the way I showed, but it's good to be flexible. Your other idea is interesting ...and I use some of those voicings as upper structure comping esp. the F13 w/ b7th on bottom, 13th on top in LH, and F triad in RH, and moving that up and down. When are you starting YOUR tutorials?
Many thanks Kent. another amazing video. Found super cool voicing of the major. L 3-6 rt. - 2-5-8. What is this called? Using as lead in to tonic.
The g7#9 to I reminds me of a phrygian cadence, great video!
Thanks for the affirmation!
Welcome back Kent! Hope you had a great vacation. Great lesson! I got a piano while you were away so no more practicing on a keyboard. Picked up a Yamaha C-3 6' Baby grand :) I will start working on this lesson out today when I get home from work.
That's great, Bill. I'm sure that will be a major inspiration for you to play and practice. Love Yamaha grands!
Cool clip! Great explanation! I do this, with different execution. I play the 3rd of the chord in my left hand and a triad in in 2nd inversion of the major chord a half step below the note I'm playing in my left hand. i.e. C in left hand B 1st inversion (F#, B,D#) triad in right hand. And of course I move everything up by minor thirds.
I learned it the way I showed it and I understand the way you do it, but for me it's easier w/ the 3 notes in the LH. Either works.Thanks!
I enjoyed and learn something too.
Thanks for the affirmation!
Hi Kent, are there any similar chordal licks for the augmented or wholetone scale? If so, could you do a video on these please. Thanks.
Having lots of fun putting these licks into a few funk tunes I'm working on. They certainly give a lot more color to an arrangement. Lots of good info here.
Adam, I haven't put together a score using augmented and whole tone scale licks, but I think that is a good suggestion. Can I put it on my to-do list? I learn a lot from my students and that makes teaching so rewarding. Thank you, sincerely.
This may be one of the most difficult lessons to get a clear understanding of as it is one of the most dissonate series of chords you have I believe up to now generated as a lesson.
One thing that is also important is how these chords relate to other less dissonate chords that one is using in the song.. For example, a C major 6 beside one of these chords may sound out of place due to lack of dissonance in the chord. If that makes sense to anyone ..lol:)
You are a very good teacher! I play classical piano, but I am very interested in your lessons of jazz! Keep on with your work! Good bye from Italy
Love Italy....and like the most interesting man who visits Capistrano early March so that the swallows will return when he arrives. Classical piano is the ultimate (Chopin kills me) and jazz is the alternative. Both great. Thanks...and goodbye from the CT shores!
Chopin is so sensitive and strong at same time when he plays. You know the the "drop", right? That's what I think when I say it. Jazz can sensitive and strong at same time. I love Brubeck and Evans. Waltz for Debby! Such a composition. Jazz and Chopin's composition are different, but they both hit my soul! I hope to learn more in this channel and find new sounds in jazz! Bye!
Thanks again! I hope you've seen my Waltz for Debby video here:ua-cam.com/video/Az7d0p_0AXQ/v-deo.html
You had me at Wynton, dig your lessons,
Cool...
Thanks for the comment!
You are right. Learning the altered diminished scales changed everything for me. Thank You. How do I print out some of the scale patterns for practice?
I apprecaite the comment. Go to my website and the heading: Free Music Downloads. They are alphabetized...let me know.
As always it is very interesting and helpfull lesson. A lot of examples how to use presented material, in concret and friedly atmosphere, thank you. (I am from Poland, not English speaker, but music is everywhere the same ;) )
I appreciate your comment and for taking the time to write to me.
Once again thank you for this; as always you do a great job of spelling out what's happening. I'll saddle up and give it a whirl later :)
Hi Silvertone, thanks for saddling up (sorry for this spelling), but you are always welcome at the Jazz Ranch.
maravilloso justo lo que estaba buscando Muchas gracias
DANG ! YOU PULLED OUT THE BIG GUNS FOR THIS ONE ! BEAUTYFULL !!
Thanks Steve...you're the best!
Great !!!!! as always !!!!
Thanks for the affirmation!
gracias gracias gracias gracias!!!!! genial! Thanks a lot!!! super didactico!
Thanks for the vote of confidence!
Thanks for share your knowledgment....that s to convert in a Special person ....thanks again
You are special...you watched and wrote to me!
i hope one day i can play the piano like you :)
Thank you for the lessons. I enjoy them all and use them to keep up at my age. I do think you need to have someone touch up the tuning of your Mason & Hamlin. Reuben
You're right. It could probably use a tune- up. We had it tuned 2 months ago but it's summer now and the weather goes from hot and humid to cool evenings. We don't keep the air conditioning on constantly because we live in New England. Sorry... (what do you want for free?.... perfection?)
Kent, I've joined a really good combo- I'm still in high school- but I've been having a lot of difficulty comping effectively on chord progressions to tunes I haven't played before. There's just so much information going through my head, should I play chords with two hands here, where is the melody note, will there be a clash if I play this altered structure, what harmonic rhythm should I play for the soloist. The torrent of thoughts is overwhelming. How do I quickly learn to play chords effectively on tunes I don't know? And on another note, I accidentally discovered that chordal pattern myself a couple of weeks ago when I was taking that voicing round the keys, great sound.
Hey Tom, I wish I could do a Skype lesson with you because I can help you a lot with this. Don't pay much attention to this video, because it is not that essential to over-all comping. In the meantime please check out all my comping videos here: ua-cam.com/play/PLFuMibnl_h5abmY90whS2VekI4jABbFUoWrite.html to me! thanks!
Problem solved. I went directly to your wonderful site and downloaded the sheets.
Good...I left a message on your previous comment. For whatever reason UA-cam is eliminating annotations, and addind end screen elements...so I can fix the link.
Thank you very much, Kent!
def thumbs up.. I had to watch this several times to see where you got the why you picked c eflat gflat and a then it hit me duuh those are the notes of the diminished chord. so by playing these notes you automatically get the flavor notes..flat9 sharp9 sharp 11 a 13 and of course the good old dominant flat 7... when played as a scale they sound right but when played as patterns they take a life of their own..
That observation is exactly correct...so thanks for the affirmation...and please keep watching a writing! Thanks!
I've recently started to investigate Barry H's 6th-diminished scale and also the diminished approach to altered dominants and came across your wonderful website and UA-cam videos. Here's my question: I understand how to use a sequence of 4 (or less) diminished chords to approach a I (or i) chord in a chordal fashion, but what about possible scales to play over some of these diminished chords? I assume I can play diminished scales (half-whole) over each diminished chord (functioning as an altered dominant), but are there other scale possibilities? Specifically, over a C7 going to Fmaj, if I instead played an Eb alt (using diminished chord form) going to Fmaj, would I pretty much just choose from diminished half-whole scale over the Eb alt, or could I possibly play a completly altered dominant run over the Eb alt? I know I can experiment myself (and I do), but I thought it would be nice to hear what a pro does/thinks in such situations. Thanks again for the great videos.
The diminished scale (or altered dominant scale) is just one type of dominant scale you can use. What you are asking can't be a short answer. Check out my tutorials for other options namely: mixolydian, super locrian, Lydian flat 7, whole tone, b7 pentatonic, etc, etc. I cover a lot of these scales in my book. Thanks for writing!
Hey Kent! Thanks for the tutorial. I'm quite new to Jazz and all, and for the sake of keeping up a disciplinated practice routine up, I started to work through Levine's Jazz book. Do you recommend it or can you suggest another useful book that gives insights into jazz theory from another viewpoint? I personally like it and will stick to and see where it leads me.. Just wanted to know about other materials out there and your opinion :)
You should check out my own book which is the results of years of teaching and reflects my You Tube concepts. I think Levine's book is very good but another take on it would be this :www.kenthewitt.com/id31.html
Kent, for the 3 Families (C-F&G), for each of these super chord sets, would you tell me base notes for the other 2 chordal families F&G? Please!!!!!
I think you meant bass notes. The families all form a diminished chord, which is building minor 3rds. C= C ,Eb, Gb, A. F= F, Ab, B, D. G= G, Bb, Db, E. That totals out to 12 tones...all the tones of the chromatic scale.
nono mr Kent thank you i always put a thumb up on your videos
if you didn't know I'm one of your subscribers
Where are you from! I always appreciate the thumbs up and count them. I guess that's an affliction of mine. Thanks!
I shall rule the world with this lick ! Thank you. I have a question: what if the tune is in a minor key? what "dominant" would you used? For example, if they key is Em, would you use B7#9, D7#9 F7#9 ?. (Ive just seen you have already answered this below! ) Ive also been playing with this lick, using the 13 chord, instead of the #9. Do you think this works?
Hi Kent, great video! I have a question for you..
You mentioned resolving to different roots: I'm wondering if you could play around in the G family of altered dominants (with a G in the bass) and then resolve to, say, an Eb? I'm realizing that the G family includes an altered Bb7, and I'm wondering if you would rule out that resolution since there isn't V-I motion in the root. Thanks in advance for any input.
You might want to try the V-I resolution and then the tri-tone substitute variation which would resolve down a half-step. Bass line movement is always paramount even if it's implied. So the strongest movement is cyclical (V-I) or chromatic bII-I , or stepwise. I should do another video on this but you might enjoy experimenting with different resolutions as I did at the end of this video.
Hey Kent! Your videos are super awesome and helpful but I'm having difficulty finding the page with the work sheets for the videos.
Go here: www.kenthewitt.com/ click on the left hand column the heading: Free Music Downloads. Scroll down to see complete list. Thanks!
I see em thanks! You've got a lot of free stuff, I love it. Maybe when I'm not such a broke musician I'll buy your book
Your welcome...I'm glad you appreciate the music!
Alright! He's back!
Yeah, man!! Swing loose!
lol loved the intro, great video!
Mr. Hewitt: I am missing something important here. I understand why the G family of alt chords would nicely resolve to a C-major (just a V - I progression, yes?) but why does it work to resolve to other major chords and which would those chords be? Is there some modal theory that explains it a bit?
The reason I ask is that I'm wondering how to chose the correct "family" of this beautiful alt-diminished sequence for approaching a target chord, like a major.
Finally, can the sequence be used to approach a non-major chord like a diminished to fill in those long periods where one has a diminished chord in a song?
My thanks.
Wow, good question! First of all, the altered dominant 7th chords in a family (say G) share the same 1/2 tone -whole tone scale and that scale can function as a means to resolve to C major or any of the major chords in a V-I manner from the other roots of the family members. So G7 resolves to C, and Bb7 resolves to Eb. In addition Db7 can resolve to Gb (V-I) or function as a tritone substitute of G7 and resolve down 1/2 step to C. But there's an additional aspect of this fascinating relationship... and that is that the Bb7 can resolve down a 1/2 step to an Am7 which is a II in G, and can then move to D7, and then resolve to G. To answer your last question dominant 7th chords and diminished chords function much the same...they are tension chords wanting to resolve and sometimes can be sustained for a long time (esp. in classical music to build up the tension for the final resolution). And then often it doesn't resolve to I. It could resolve to a relative minor or a b6. Or go around the cycle of 5th. Dominant 7ths tend to move in cycles and diminished chords tend to move chromatically. Now you can see the potential of your question? Many thanks! Keep writing.
This is the best!
Many thankees.
Thank you very much once again kent but i still don't get the sharp 5
the flat 7th...
. if you can make a video about that i will be very happy
I thought my Super Lydian scale video covered that. Did you watch that? Please write to me again and I'll do another video. Check here:ua-cam.com/video/lbpenXVeHlI/v-deo.html
Hello Mr Hewitt, it seems the link to the sheet music is outdated. I also have your book and I can't find this chordal lick in there. Any suggestions ?
The exercises are in my new appendix. If you write to my email, I can send you the sheets.
very nice thanq
Glad you're back 'on track' (geddit?), favourite (geddit?) Maestro! Did work out the diminished bones of these riffs some time ago but as usual, your showing the theory gives a richer full sound to them at last! Thanks as ever. Do you have a gig(s) in CT on or around July 4/16? Might well be down from Canada at nephew's nr Bethany/Seymour CT and would like to catch you playing.
Cool...thanks for the welcome. At this point, no gigs in that area at that time. I'll let you know if something comes up. In the meantime, have fun and swing loose!
Great tutorial, thanks so much! Question: Even though an e.g. G diminished 7th ascending pattern of 7th sharp 9 chords could always resolve to the root chord of the last chord as if that chord were the dominant, it always seems to want to resolve to F major. Why is this?
A G diminished chord is really functioning like a C7b9 which will always resolve to F major. The notes move up or down 1/2 step to resolve or stay stationary. The G will move to F or A.
I don't know if anyone has said this already, but an easier way that I look at is by thinking auxiliary diminished which is half whole diminished scale. So with this concept I think of the G Diminished 7th chord G-Bb-Db-E and then I think of the diminished 7th chord a half step up which is Ab Diminished 7th chord in this case. Ab Diminished 7th chord Ab-B-D-F. Okay now take the single notes from the diminished 7th chord a half step up and use them for your left hand then use the single notes from from your 5 bass diminished 7th chord and play the 2nd inversion major chord for each bass note. The chords will be Ab/D-G-B, B-Bb-D-F, D/Ab-Db-F, F/B-E-Ab. They work out to be the same exact notes just a different way of arranging it between the left hand and right. Hope this helps someone. Thanks for the video!!!
Many thanks for the comment....This specific video was a follow -up, I believe I did cover this material in a pervious video , but I'm going to please ask you to confirm that, by requesting you to watch this: ua-cam.com/video/8A41X1RbKdk/v-deo.html
Yes exactly!!! Great video by the way. All I'm saying is I'm using that scale to think right hand major chords in 2nd inversion for the root diminished 7th bass notes and the left hand are the single notes from the diminished 7th chord a half step up from the root bass notes. So instead of your Ab-D-G/B I think Ab/D-G-B which how I remember really fast by thinking 2nd inversion major chord half step lower from bass note. Music is amazing. Going to learn a lot from your videos!!!
Hey Kent.....Just found your jazz piano channel....Wow over 100 videos to learn from.Thank you so much ! Love the hat and sunglasses.
Thanks, Janet. I try to look the part of a "jazz cat". Don't forget all the free music downloads on my website. Here's a list of my videos in categories: ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylistsCheck out my book here:www.kenthewitt.com/id31.html
great sox
Hi kent
Where is the writen Material for this concept?
Thanks
It's all in a new appendix coming out soon!
@@KentHewittpiano88
Hi kent
I think I already found this in a new index you put out??
It was titled (cool) parallel diminished patterns