Maiden Voyage: Journey Through The Real Book
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- Опубліковано 22 чер 2022
- A jazz piano lesson to help you learn Herbie Hancock’s jazz standard “Maiden Voyage.”
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Getting beyond the “notes on the page” 0:11
An overview of “Maiden Voyage” 0:26
The rise of straight-8th note jazz in the 1960s 1:31
Modal jazz 3:26
Viewing Am7/D as D9sus4 3:29
An easy and musical way to figure out Mixolydian modes 4:47
The rhythmic vamp 5:26
Stop comparing yourself to Herbie! lol 5:33
Text painting, inspired by the tune’s title 6:12
Hinting at the rhythmic vamp 4:47
The spirit of musical exploration 7:14
Beginning with a single note 7:34
Expanding outwards 7:53
Starting the melody 8:03
Open fifths 8:18
Speeding up the rhythms 8:46
A low bass note at the start of the 2nd chorus 8:57
Lyrical improv over shimmering textures 9:13
Contrary motion in the right hand 9:41
The 3rd chorus 9:53
More expansive melodic phrases 9:56
Quarter-note triplets 10:17
Having fun with rhythmic chords 10:32
The 4th chorus 10:48
“Block chords” 11:02
Funk rhythms 11:06
Playing more lyrically 11:03
Pentatonic runs 11:19
Letting the rhythm take over 11:32
An orchestral texture with left-hand melodic improv 11:45
Returning to the tune’s melody 12:37
A softer, more reflective texture 13:15
An improvised “coda,” using D Mixolydian 13:30
Different possibilities for “Maiden Voyage” 14:26
Taking our journey through the Real Book 15:09
Play piano with more joy and less stress 15:19
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Thanks for joining me on this musical adventure, and please LIKE, COMMENT and SHARE this video with your musical friends.
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Enjoy the journey, and "let the music flow!"
Ron - Розваги
I'm fascinated with this class and your performance! Thanks, Ron! I'm a starter pianist and I can't wait to play 1% like you.
Greetings from Brazil!
Beautiful color explorations. Played in the spirit of Keith's Köln concert.
That's a beautiful thing to say! I was actually thinking a little bit of Jarrett's early solo concerts while playing some of this.
@@rondrotoskeyboardimprov9453 wow! Glad I picked that up.
Good ears!
@@rondrotoskeyboardimprov9453 Thanks😊
Love how you flipped it to major a few times. That’s what I find cool about sus4 or 4/5 chords (as my old man calls em), switching the modes up gives a new vibe to soloing.
I like that term - 4/5 chords!
Hit the nail on the heaad, as always, Ron!
Thanks Jay - it's amazing how inspiration always comes when we need it!
Great playing!!!
Well done you....you have done what all true jazz musicians do.....take a well known standard and interpret it in your own unique way ...so that you describe it in a way that means something to you
👏👏👏👏👏👏
Thanks, David - that's a very nice thing to say, and it's my goal.
Thanks for explaing the sus4 chord and the historical context. . Newbie here. Love this channel, your content is pure gold Sir. Thank you. Blessings!
Welcome aboard!
Thank you, Ron. Again.
I've re-labelled the slash chords as sus ones and it helps. Super hint.
I've always found this quite a hard tune to improvise on - because it has so much space which is for us to find ways to fill. I've also been perhaps a but strict in trying to maintain the rhythm of the intro across the entire piece (and not allowing any extra notes in the left hand). It's a weak spot for me, and the practice is doing me good (and punishment at the same time) but, as they say, I force myself to concentrate when I'm practicing so that I don't have to when I'm playing.
That's exactly why Miles said he started playing modally - to challenge himself to be creative with very little harmonic change.
Beautiful Ron!
Thanks Terry!
Thanks so much Ron, I’ve been waiting for this one! I loved the explanation about the history of the song and what Herbie Hancock was going for when he wrote it. I actually saw him play just a few weeks ago, and I was so excited to hear Maiden voyage but he never played it! He played mostly his funk/fusion stuff which was great but man I would’ve loved to have heard maiden voyage. Anyway, I love your approach and I’m going to try it out myself. This one is one of my favorites!
Was that at the Kennedy Center? If so, another student of mine was there too. He loved it. Yes, definitely try playing Maiden Voyage with the Mixolydian modes. Good luck!
@@rondrotoskeyboardimprov9453 It was! It was pretty amazing. I had seen him years ago at the New Orleans Jazz Festival and it was a completely different sound. It’s incredible how diverse his music is…
@@AFSoar01 Yes, very diverse. And it depends on who he's playing with too.
Very interesting, Ron. What I find confusing, however (not being all that well versed in jazz theory) is what the *practical* difference is between thinking of the chord as being D mixoydian verus A Dorian with a D bass. The notes are the same. I realize that by using the mixolydian you are conceptualizing the chords as a V rather than a I. But how does that affect the way you play it? And improvise over it? Especially since the notes of the scale are the same. (right?).
Since we use the mixolydian mode over dominant 7th chords, it's easy and logically consistent to use the same mode over sus chords. If the progression went back and forth between D7 and Am7/D chords, for example, it would be unnecessarily complicated to keep alternating between thinking of D mixolydian and A dorian every 2 beats. Much easier to keep it all in D dorian. In the case of Maiden Voyage, the notes are the same in both scales, but the center of gravity is different. It's too complicated to think "I'll play A dorian here, but I'll listen to each note as it relates to the D bass and the other notes of the D7sus4 chord." It's like translating each word in a sentence from a foreign language. Better to see a friend and say "Buenos dias," rather than always thinking of the English words first and then mentally translating.
Actually, you should be conceptualizing the Dsus4 chord as a I, not as a V. It's a D chord, with a flatted 7th in the scale. D is the tonic.
Hi Ron I’m trying to figure out the rhythm that is played throughout on the piano. Can you help?
I play it very loosely, but the original rhythm is: quarter, dotted quarter, 2 dotted quarters tied together, then 2 eighth noted tied together, and then 3 bass notes, A D A, which are eighth notes. I hope this helps!
@@rondrotoskeyboardimprov9453 hey Ron Thanks! That’s a great help. We will be playing this with my School Daze Jazz quartet for the first time on Tuesday. I am really enjoying your Journey through the Real Book. Keep it up!
@@rbtubin Good luck with your quartet!