How to play Major 7th chords like Bill Evans!
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- Опубліковано 21 сер 2024
- A lesson on how to use the bebop scale to harmonize Major 7th chords in the style of Bill Evans, Barry Harris and Hank Jones.
Download a PDF of the lesson material here: www.johncolonn...
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Your format, i.e. showing notes, keyboard, full staff, etc is HUGELy helpful! I've been beating my head against Bill Evans voicings for decades and here you are, lucidly explaining how they're done. Thank you, amigo!
wow, that is rich. theres a really strong sense of tension and release just moving up and down by scaler degrees. there was me before this lesson 😢 meandering, uncertain; and then me having digested what was discussed here 😊 confidently carving a well-graded path along a topography of changing harmonies. impossible to ever sound lame again once you understand😅
You’re a really good teacher man
Thanks, I appreciate it!
Simply superlative! Many thanks.
Where have you been ??? Best rational and understandable explanation I have ever seen of how in part that unique and rich Evans harmonic sound is achieved. Keep them coming ! Maybe next some more on Bill's right hand lines ? THANK YOU !
Thanks Bob, yes more lessons coming soon!
@@JohnColonnaMusic Don't forget his left hand 😄
Plus those sublime trio bass lines 😍
This video was awesome- really brings Barry Harris’ wisdom into a modern context, can’t wait to play around with the concept of expanding the sixth-diminished scale 🙌
Wonderfully taught. Although playing and loving improvising and jamming for 20 years I was never taught theory and can't read music but, I know some basics and this.. made massive amounts of sense with such a beautiful concept.
And love Bill, especially with a view when the rain is hitting the window. Subscribed of course!
What an excellent way to teach. I thought the great Bill Evans was beyond my playing, as I focus on other styles and instruments, but can absolutely grasp they way you conceptualise this concept and will practice.
These scales and chords are wonderful!
Always played with contrary motion but never had a name for it, very nice.
Thanks!
Excellent man! I’ll share this quite a lot.
Side note: Never imagined David Foster Wallace came back as a pianist ;-)
❤️ 🎶 🔥
Love it. Great lesson. What's funny is we all know you love M7 chords.
Haha yes I do
Dang we found the deep youtube. This the real deal, keep up the lessons and the channel will grow.
Thanks Alexander
thank you so much for this!! this is so well (and relaxed) explained, it gives me a lot! Finally I seem to begin to understand a bit of Bill Evans way of voicings. I always disliked the major7 when I play and included the 7, but this concept of major and dimished at the same time played in opposite manner makes the difference. Really, thank you!
Thanks I’m glad it helped!
Very useful harmonization technique, thanks!
Thanks, you unlocked the code! Wow
Thanks Theoryman
Download a PDF of the lesson materials here: www.johncolonna.com/product-page/how-to-play-major-7th-chords-like-bill-evans
New videos about the same concept on Dominant 7th and ii-V-I chords out now!
Dominant 7: ua-cam.com/video/FEnYXGEsGhk/v-deo.html
ii-V-I: ua-cam.com/video/Ge6HqCvzscw/v-deo.html
Cool!!!
Great lesson!
Nice ideas! Bill Delatore
Yes. Thank you so much.
I really dug this technique of pretty-fying and resolving Major 7th Chords. I noticed that it does give things a somber more Minor tonality buy hey, its still better than those antique sounding block chords. Thank you much!
Thank you. That was well explained and inspiring! I hope to see more from you.
Thanx, John🌹🌹🌹🌹
A fantastic lesson. Am inspired to get to it. This echoes changes on the maj7 sound brilliant
Thanks a Lot for sharing those Amazing Concepts.
Hearing the leading tone as a tension in a resolution is very 19th century. If you put it right under the melody of course it’s tense, but in the middle of the chord like trombone 7-3 voicing it’s beautiful. Soften it with a 9th even smoother. The 6th is also warm under a tonic melody, but that’s something else.
That is Gold 🪙
Thanks!
Major 7th were predominately used in Latin music. Nice to hears someone who understands voicings.
M I N D B L O W N ! Wow 🙏 Thanks!
First time I’ve watched and found it to be helpful. Thanks very much John!!!
Awesome video! Good job.
this is terrific! gonna sit down this fall and study this!!
Brilliant. Thank you.
I am never going to play a major 7th chord c e g b again after viewing this! Am I right that if one plays the notes of the C 6th (c e g a) in alternate steps with the notes of the diminished chord (d f flat 6 b) (divergent and convergent) a whole new array of voicings will suddenly be born?! If so, am off to try this right now. Please forgive my convoluted summary of your lesson.
That’s it!
Really, really cool! Subscribed!
Thanks!
really reminds me of those voicings mingus would use on his piano album
Very cool. Thanks!
Excellent practical explanation of harmony Thank You!
It's very interesting what you have discovered here.. like you say this has a lovely classical feeling with an echo of Bill Evans. The 'locked hands' technique of George Shearing is great too but more old fashioned sounding.
Thanks again
Dude..this was class..make more of these..I might actually get a lesson at some stage..
Thanks Patrick, more videos on this concept are coming soon!
Great precious & precise lesson. Thank you!
Awesome channel! Thanks for posting such a useful video
hey john,ive been looking for a more holistic approach to jazz piano harmony and your series is it !! thanks man big love
Very cool. Thank you.
Thanks so much for this wisdom!
that was really good thanks
THANK YOU ~~~~~~!!!!!!!!
that’s a pretty good idea
Great video
You’re great!
This was just beautiful. Thanks man
Excellent tutorial. I particularly love how it was narrated by John c Reilly.
On a musical interlude while acting in the David Foster Wallace biopic 🙂
What a great breakdown. Many thanks!
Thank you you are genius i subscribed
Thanks!
Such a nice lesson, I will practice it till i get in al the tones. Thanks mate!!
Splendid, thank you.
That is super cool, I will try that tomorrow, thank you so much. ❤
this, I can understand. thank you very much. more videos like this
Great!
magic mate tx!
Beautiful! Thanks ❤
Bruh amazing
nice thanks
Thanks for sharing this little jewel of information John! Luckily I recently learnt about the be bop scale with the sharp 5th. George Shearing uses this quite a lot with his double hand technique and this demonstration has a lovely classical and poignant feel.
Lucian
Poignant.. great word choice!
Excellent.
This movement is sick! Thanks for sharing bro. It can alsowork great on a Gbminb5 chord.... The Amin/D7...
Thanks Trevor!
i think i may need to watch this again.
I have e greek friend he is over 60 now you have the same name and surname and when he was young he looked similar ! Now he is bold without the moustache. .😆How funny life can be sometimes !
Thanks John … just sent you an email ..
I would love to learn some more from you ..
I have always loved Bill Evans and have always tried a different way .. cant wait to apply this ❤️ thank you so much for the video 🤩
Nice video! I would be very interested in different kinds of excercices that wrap up this concept.
That's so cool! ty so much
Wonderful
Nailed it!!! Thanks for sharing John
I think you transcend Barry and Theory both. Bill in a closet/nutshell. A pdf would be great, or Muse Score. Thanks! You make it look pretty easy.
Thanks! Yes PDF coming soon
Hi Murray, a PDF is available now at my website here: www.johncolonna.com/product-page/how-to-play-major-7th-chords-like-bill-evans
Thanks!
@@JohnColonnaMusic Thanks Brutha. Here is one I did for Kicks. It's a 5 Finger exercise over Giant Steps:
ua-cam.com/video/Yz0ZRzMWOFk/v-deo.html
I was reading the C. P. E. Bach "the True Art of Playing the Keyboard" and some how got Inspired.
It's a little over the top/tongue in cheek, but a tiny step towards Line-Up.
Hope you like it!
Oh I love this guy. The way he expresses his disappointments in the modern world music stuff... Funny
Thanks!
Cool stuff, thanks!
Thanks for this, but i would like you to do examples of songs played normally and then played with that barry Harris scale style of your's so we can get a more practical idea of how to implement it in different songs.
Sounds good, I’ll post a video soon showing it’s application in a standard
@@JohnColonnaMusic Thank you soo much.. I have a feeling this will dramatically improve my sound. 😁😁😁
Woah!!!! Dude! What!
Very old timely sound for sure but.....I digress. I want all notifications.
Professor John!
Awesome video!! I just have one question, how do i utilize the f# you where playing? Im having a hard time wrapping my head around that concept. Incredible video!!
I’m thinking of the harmony as an Am7 going to D7 in the example with the F#, thanks!
that was nice, thx! you should do more lessons! :)
Will do!
I just subbed.
Thank you!!!
Doesn't that scale with the added Ab have something to do with playing block chords, also?
Sometimes you want to resolve on major 7th chords with the leading tone in the highest voicing because of it sounding dissonant and unresolved. Sometimes that is perfect prosody based on the lyrical content. If you had a song that centers around the concept of "I hope she comes back to me" you would not want to have a full resolution sound, because it would fight the concept of her "not being back with you yet". You want to create the feeling of longing, and anticipation, and hope, etc. This concept is painting with sound to the text.
I agree
That's a nice point. It reminds us to think of lyrics, or at least the mood, especially when accompanying a singer, but even when not. And come to think of it, I've heard great singers end on a 7th after singing the tonic. It has a powerful effect.
How about putting together an ebook? I would buy it.
Amazing！
That was lovely. I’ve heard Barry Harris would think of a Maj 7 chord as a Bass plus Maj 6 chord. For example, C Maj 7 = C + G
Maj 6, in which case you could keep the C fixed and use the G Maj6/dim scale to harmonically move around. How you used that idea?
Yeah actually I use that for the 4 chord so your example I would use in the key of G
@@JohnColonnaMusic This sounds like you like to use the tonic bebop as much as you can and figure out creative ways to make that work.
Your video on using that concept on dominant chords was terrific. Never would I have though of flatting the 13th of the dim half/whole tone scale. That was brilliant.
Another way to think of it is just V-I-V-I.....and the b13 in the V chord gives it a little more resolving ooommmf
I would look at that progression as a A minor 9th descend down to a Gb half-diminished and I would use the A melodic minor ascending scale.
Thanks! I’ll make a pdf available soon
Hi Daffy Duck,
I made a PDF of the lesson materials you can download from my website here: www.johncolonna.com/product-page/how-to-play-major-7th-chords-like-bill-evans
Thanks!
Great video and channel. Subbed.
Thanks!
Barry Harris rules rule!
Gracias
Very niceeeee.
Reminds me of the original Twin Peaks soundtrack, do you know what I mean?
Awesome video. Is your microphone stereo? your voice sounds very phasy for some reason, just thought I'd point it out
Am is the related minor to "C".
Perfect. Where did you get the B. E. Class please?
You can download the pdf here: www.johncolonna.com/product-page/how-to-play-major-7th-chords-like-bill-evans
Hi John, Do you have anymore videos?
Hi Jodi, yes check out my channel for more videos: ua-cam.com/users/JohnColonnaMusic
Here is another lesson video: ua-cam.com/video/FEnYXGEsGhk/v-deo.html
More lessons and music coming soon!
Your material is great!! But a little last for me. I understand the diminished idea the tension and resolve. Do you have any pdf material I could download?
Yes PDFs will be available for download soon
Hi Bruce, I made a PDF of the lesson material, you can download it here: www.johncolonna.com/product-page/how-to-play-major-7th-chords-like-bill-evans
Thanks!
Barry Harris called this scale the major six diminished scale.
Chord changes