Some thicker voicings that you are saying not to do are actually really good for neo-soul and some modern jazz. Sometimes its good to have cluster and thickness and other times cleaner and shinier sounding as you say chords in other places.
That was one of the first things I noticed about Keith Jarrett's playing, he allocates velocity intensity on say two or maybe even three particular notes in a given voicing to make you pay more attention to certain tensions.
Man, if i could afford to pay for just 10 minutes alone with Peter in a room with a piano. I would ask questions about his life as a musician that would utterly floor him. Virtually everything hes ever played on, I have either on vinyl or in digital format. Even back in the day, Peter always played unusual ideas. Peter Martin, Larry Goldings and George Whitty are the 3 keyboardists I am studying right now. My brain is melting - So many new ideas to work out!
2:02 "terrible" choice of word... Would've went with "simple" or "standard"... Major 7s are the best chord in any position... haven't heard a "terrible" one yet. Speaking of preference, I hate 6th chords (gimme dominant 13ths all day though), but I can't call em "terrible" out of context. Still diggin yall otherwise
Dear Adam...I thank you and Peter for sharing All your knowledge with us. Your no nonsense teaching style is absolutely wonderful. I am an older piano player and recovering from a severe carpal tunnel operation in both hands. It would seem that I have been blessed with a second chance in life as my hands are now able to technically do things that they never could do ( even as a young man) Do you even know how good that feels??? To actually be able to play things that I only dreamed and hoped about. You and Peter have given me a TOMOROW. I thought my life was over with at 66. Thank You Both for a chance to live life again. No! Adam,Peter!! I'm not crazy...Just really happy and grateful for the both of you. You are probably the best teacher I've ever known...and certainly two of the greatest players of our wonderful instrament. Once again... Thank You Both
Not double notes, with the notable exception of locked hands style. Drop 2 is a way not to double it, but the sound of pure locked hands, with melody note on top AND on the bottom of the chord as such a wonderful sound. Very vintage classy sound.
This video really opened up my voicings and gave me a better, prettier, hipper-sound very quickly. All I had to do was avoid doubling chord tones, alternate spread with thick voicings, and vary root/rootless.
I think around 13 minutes of the video it has been mentioned overtones. Unfortunately most of us playing digital pianos and overtones are not a factor . It is a great informative video thank you for sharing.
At 13:35 , are you sure to want have an E chord with G# and a A So a chord with : E - D - G# - D - A ? And how is the name of such a chord? For me , it is something NOT to do.
Hi Peter and Adam, you've really been upping your game in those last few videos, great stuff! I have a question about that stuff Peter plays at 7:55 , I transcribed it and am wondering about the harmony. From what I see it starts with C-11 / F7(b9,#11,13) / BbMaj9 / Eb-(add9) / Bb-7(b9,#11) / C-11 and then repeats the Bb 251 with some added tritone subs and chromatics. I'm really surprised about the Eb-(add9) / Bb-7(b9,#11) though. I think this is a a backdoor progression to C-11 with the Bb-7 actually being a dominant with a sus#2 that resolves to the 9 of C-11. But this seems much to complicated and I believe I have missed a much simpler way to describe it. Can somebody help me out with understanding it better? :) Also, how would one go about learning to voice lead on that level? How does Peter even come up with insane stuff like that on the spot lol
Absolutely (loved, even tho an example of the non1 hard fast rule, stuff, let go…shimmy that shiyt. So cooool. Composition in itself, and it’s anarch chaos. Reigning the in, Man watching this show wakes my music brain ever my time-- tffff sounds like it could be its own tune.
you both are awesome, curious though, play to the sound makes sense, Do. you ever consider the audience? Also the longer we hear ourselves the more bored we get with our own playing, so the more unique and maybe outside approach. may sound better to us. As a more commercial player, would love to know your feedback on these concepts.
Nah, he said you have more options if you are playing solo, which is absolutely true, if you are playing with bass you have to give him space and not play too low because that's gonna sound muddy and mess with him. If you are playing solo piano you can do anything basically as long as you like it.
As a bassist these videos not only are teaching my how to play a little solo piano but also allow me to understand and groove with pianists.
Some thicker voicings that you are saying not to do are actually really good for neo-soul and some modern jazz. Sometimes its good to have cluster and thickness and other times cleaner and shinier sounding as you say chords in other places.
Right, it all depends on the context. No one wants to play RnB with someone who only plays bop, and vice versa
Wow this is super helpful. The ii V7 at 3:50 sounds exactly like me clunkin along, not knowing why it sounds so lame.
That was one of the first things I noticed about Keith Jarrett's playing, he allocates velocity intensity on say two or maybe even three particular notes in a given voicing to make you pay more attention to certain tensions.
this is such a great insight
Man, if i could afford to pay for just 10 minutes alone with Peter in a room with a piano. I would ask questions about his life as a musician that would utterly floor him. Virtually everything hes ever played on, I have either on vinyl or in digital format. Even back in the day, Peter always played unusual ideas. Peter Martin, Larry Goldings and George Whitty are the 3 keyboardists I am studying right now. My brain is melting - So many new ideas to work out!
Thelonious playing that 11th on top of the dominant, absolute mad lad.
@Cason Lucian @Frida Leray is this some newfangled bot hellworld stuff
all he did was pick a note
2:02 "terrible" choice of word... Would've went with "simple" or "standard"... Major 7s are the best chord in any position... haven't heard a "terrible" one yet. Speaking of preference, I hate 6th chords (gimme dominant 13ths all day though), but I can't call em "terrible" out of context. Still diggin yall otherwise
Dear Adam...I thank you and Peter for sharing All your knowledge with us. Your no nonsense teaching style is absolutely wonderful. I am an older piano player and recovering from a severe carpal tunnel operation in both hands. It would seem that I have been blessed with a second chance in life as my hands are now able to technically do things that they never could do ( even as a young man) Do you even know how good that feels??? To actually be able to play things that I only dreamed and hoped about. You and Peter have given me a TOMOROW. I thought my life was over with at 66. Thank You Both for a chance to live life again. No! Adam,Peter!! I'm not crazy...Just really happy and grateful for the both of you. You are probably the best teacher I've ever known...and certainly two of the greatest players of our wonderful instrament. Once again... Thank You Both
Thank you for an excellent video, this is exactly the angle of discussion that a true musician must take in approaching his instrument.
Hey Peter, voicings have been a weakness of mine for a while - is there any course coming out on Open Studio specifically for voicings? Thanks
Hey there fellow musician friend! :)
Here is their "Jazz piano basics vol.2" course, dedicated to left hand voicings. Keep learning! Good luck! :)
Not double notes, with the notable exception of locked hands style. Drop 2 is a way not to double it, but the sound of pure locked hands, with melody note on top AND on the bottom of the chord as such a wonderful sound. Very vintage classy sound.
These great tips, and the last comment on highlighting certain notes of a same cord was especially interesting! Thanks a lot, guys!
I am loving your video sessions. Thank you so much.
What are you using for light up keyboard display?
This video really opened up my voicings and gave me a better, prettier, hipper-sound very quickly. All I had to do was avoid doubling chord tones, alternate spread with thick voicings, and vary root/rootless.
I think around 13 minutes of the video it has been mentioned overtones. Unfortunately most of us playing digital pianos and overtones are not a factor . It is a great informative video thank you for sharing.
Excelent tópica and well explained.
I enjoy it a lot, thanks.
At 13:35 , are you sure to want have an E chord with G# and a A
So a chord with : E - D - G# - D - A ?
And how is the name of such a chord? For me , it is something NOT to do.
'it's not what you put in, but what you leave out' - Miles Davis.
"dont play the butter notes" :p
@@GameNationRDF Aye. Which Miles claims in his autobiography was actually 'Don't play the bottom notes'. But in any event, it worked wonderfully.
Superb content, gorgeous sounding voicings and great piano best practices. Thx.
Hi Peter and Adam, you've really been upping your game in those last few videos, great stuff! I have a question about that stuff Peter plays at 7:55 , I transcribed it and am wondering about the harmony. From what I see it starts with C-11 / F7(b9,#11,13) / BbMaj9 / Eb-(add9) / Bb-7(b9,#11) / C-11 and then repeats the Bb 251 with some added tritone subs and chromatics. I'm really surprised about the Eb-(add9) / Bb-7(b9,#11) though. I think this is a a backdoor progression to C-11 with the Bb-7 actually being a dominant with a sus#2 that resolves to the 9 of C-11. But this seems much to complicated and I believe I have missed a much simpler way to describe it. Can somebody help me out with understanding it better? :)
Also, how would one go about learning to voice lead on that level? How does Peter even come up with insane stuff like that on the spot lol
Right after typing I went to the piano and figured it out.. I believe it's simply a 251 to C-11 with D7(#9,b13) / G7(b9,#11,13) / C-11
I was wondering what he was doing here, thanks for figuring that out!
Love the new setup
Absolutely (loved, even tho an example of the non1 hard fast rule, stuff, let go…shimmy that shiyt.
So cooool. Composition in itself, and it’s anarch chaos. Reigning the in,
Man watching this show wakes my music brain ever my time--
tffff
sounds like it could be its own tune.
you both are awesome, curious though, play to the sound makes sense, Do. you ever consider the audience? Also the longer we hear ourselves the more bored we get with our own playing, so the more unique and maybe outside approach. may sound better to us. As a more commercial player, would love to know your feedback on these concepts.
Same stuff, different package. It's helpful though.
These sessions are so packed with rich concepts! Congratulations on your new studio!
you guys have grown on me, at first i thought u were too geeky, now im just enjoying geeking out with you! Peace to ya!
Will the Bluesy Double Stop episode come to UA-cam?
great place. kudos!
Thanx, Gentlemen.
hey Adam, at 6:00 you talk about inverting solo voicings. is there a process for this that you could explain?
Just take the voicing and play the inversions of them so you can get used to playing them and then you can apply them in your playing
Nah, he said you have more options if you are playing solo, which is absolutely true, if you are playing with bass you have to give him space and not play too low because that's gonna sound muddy and mess with him. If you are playing solo piano you can do anything basically as long as you like it.
Thank you so much
🙏🏽
Really helpful!
This video boils down to think when comping. You allways tell a rule and then say but... Just consider those aspects