One thing I've learned from both Bach and Beethoven is when you do something, also do it in reverse. The unnaturalness of going around the circle of 4ths backwards helps cement things in your mind/brain. Going up Chromatically then going back down. Same for thirds, same for both Whole Tones and Diminished. Mon/Thur, Tues/Fri, Wed/Sat. You can practice all 12 keys 6 times in 3 different ways and really Internalize the Tune. Also if you want to play fast, learn something slow in Quarter notes right before bedtime, then first thing in the Morning play it at the same tempo in 8th notes, then 16th notes, then 32 Notes, then drop back to 16th Notes. You'll quadruple your speed in less than 24hrs and the Accuracy will amaze you.
@@tyzermcallister1423 Thanks Tyzer! I discovered that, working on Giant Steps! I've been working on Giant Steps for about 9 months now. Learning 3 Keys at once is a Huge savings in time and effort. I've learned so much about Music from that one Tune/Chord Progression that to me it has become "The Way", the "Holy Grail" of Scales, Arpeggios, Patterns, Licks! Whatever you get out of the circle of fifths you'll at least become familiar with in One Third the Time. If you learn it in C, Ab and E, by the time you get to E, it's like you've already learned everything and just playing it in a different order. Cheers!
Best to switch instruments for each change. Play the first measure with kazoo, second with harmonica, third measure switch to tuba and then one clarinet in each nostril.
Adam: 05:20 practice ALL keys in the circle of fourths (anticlockwise), starting from Db. Very good idea Adam.. you certainly are an excellent teacher! All the best Ray Brown
The All Key dilemma was correctly explained to me about 20 years ago by a top notch Classical Trombonist. He insisted that all musicians should be able to play in all keys. My reply was that only jazz musicians did that kind of practice and he proceeded to play difficult trombone parts in all keys. This went one for about 30 minutes and I was convinced that all musicians should learn themes and music in all keys by EAR. The reason he gave was that he got tired of reading clef changes during a performance. He could read the clef but for him it was easier to just think in other keys rather than reading the music. This was music that had several modulations and was in the high tessatura for trombone. Good Teaching in your video!
I'm a bass player. Personally I'm learning Autumn leaves in all 12 keys. Mastering all my 2 5 1 major/minor. It helps me a lot to understand the mechanism of each key. Afterwards I'll do the same with Blues for Alice and tunes like Misty n All the things you are. Everytime I'm Learning a new key I'll just write down the progressions tothese tunes just to figure out how they look like in that particular key.
My all keys practice routine that's working well for me is I work 1 major key and its parallel minor for 2 days. I tried plowing through many keys in one sitting, but I didn't retain much that way. Staying in 1 key for a week took too long for me to get through all of them. You kinda have to spend time in a key to get it to settle and get comfortable, but you obviously want to get through them in a reasonable amount of time. This way has been working the best for me. It's kinda fun. You get good at transposing, become more fluent, and you don't dread any keys as being hard anymore.
It's reassuring to know that even you guys struggle with this and that it's often "not comfortable" in certain keys. Sometimes your videos can be basically highlight reels of bad-assness, so it's nice to sometimes go through the struggle with you. Thanks for the amazing content. Back to the shed!
Love the channel guys! One of the ways I like to practice all 12 keys, aside from circle of 4ths and chromatic is by moving through all of the interval groups. Expanding on the Chromatic method.. So, chromatic, whole tones, minor 3rds, major 3rds etc. It takes a little while in a practice session, but I like what it accomplishes!
I have a notebook full of concepts, chord voicings and moves. I try to always work on learning them in all 12 keys but I keep discovering too much to have time to practice every concept in 12 keys but for sure it's a huge thing in developing as a musician.
circle of fourths in small increments,a line,a scale,working up to longer things like melodies or changes,and slowly,the key to speed is accuracy.metronome is quite helpful,playing on the click then using the click as the high hat on two and four to start with.
So inspiring! You guys are such pros!! I can do baby steps in all 12 keys, like the first two measures of something and it hurts my brain! I know you respect Aimee Nolte, so I don't mind mentioning that she has an unedited video of her practicing Misty in all 12 keys that is also inspiring, complete with the parts that are hard for her. Thank you for all you do! And I dig the new pod suite....movin on up ya'll are!!
You guys are very different from each other, and watching you guys work together and be patient with each other really makes for a good combination. You work and explain things super well when you guys let each other flow. It makes me feel comfortable expressing my knowledge seeing two very different people teach from different perspectives and energy levels.
Watching you accommodate each others explanations adds a human aspect that eases my nerves personally and shows me you can understand theory concepts differently. I feel this is very assuring for students.
Also, the audio work is very well done in the video itself. Your voices are up front and warm, and your playing seems to be clean and balanced with the talking.
You guys are the best, I cant find a better resource of learning jazz piano than you guys, and i really love your style of playing. Keep on, Openstudio!
one of my favorite topics!, I started by playing the first 20 Hanon exercises going around the circle of 4ths, then set a goal of playing 12 Joplin rags in all 12 keys (which I never finished, I got through 6 rags and moved on to other music), then went back to Hanon and played them all backwards in all 12 keys. These things took a couple years total. I learned a lot about fingering (I do not follow Hanon fingering, I worked out what I think is a better way), and a lot about chord theory (eg Joplin rags almost always end with vi-ii-V-I, sometimes VI-II-V-I, and the last beat of every measure has a diminished harmony note) Any time I have trouble fingering or timing anything I resort to playing that measure or two in all twelve keys, by the time I get back to the key its written in all the fingering, timing, and rhythm problems are smoothed out. What I'd really like to have are 30 blues riffs to practice in all 12 keys the way I did the 20 Hanon exercises (I did find a book "Blues Hanon" but nothing in it was recognizable as a riff so I was a bit disappointed), any chance you guys could cook up such a collection, some of the "practice in all keys, 30 day challenge" were riffs and would be a good start ?
When I pick up my instrument, whichever it happens to be, I play my Warm-ups, which include at least scales and arpeggios, In what I call: (taped to my music stand,) "Key of day," Mon_Gb, B Tue_C,E Wed_F,A Thu_Bb, D Fri_ Eb,G Sat_Ab,C Sun_Db,F# Majors & relative minors and they all get gotten to eventually
Cb C C# - F F# Bb B - Eb E - Ab A - Db D - Gb G - Whatever I practice in C gets practiced in Cb and C# before moving to F. Cb and C# have no common notes with C, but the names of the notes are the same (ex. a second degree will always be a “D”, sharp or flat). In this way you are transposing to a distant key while staying conceptually close. This has helped me a lot and I hope it helps you too!
Try practice scale in fiths BUT don’t start from the root. If you start att Db, start att Db. Then when Gb comes start on Db( Db, Eb, F Gb etc) Then B (C#, D#, E,F# etc ) So you’ll can get every key but stay in one place
1) when learning songs, do you learn by bass or melody first? 2) What licks and improv go with what chords and progressions? 3) can you break down different descending runs in different keys with proper crossovers. Major and minor pentatonic, blues, bebop. Others 4) walk ups and walk downs, circles and other chromatic and 2-5-1 progressions different on organ and piano. 5) Different approaches in routes and passings for minor, major, talk music, preaching chords, shouts, worship, praise and jams.. 6) Do you prefer organists or keyboardist? Can you be busy on keys like you can on organ? Thanks So much!!!
20 years ago. Came up with the Bead system..I am sure that it's not new. I drew it out. [ (B E A D) G C F (Bb Eb Ab Db) Gb Cb] Learnable in a minute...this literally has given me anew way to think about things. I started to play in Db and actually it has a beautiful sound in itself. I noticed that a beginner can hit a Ab chord or octatave base on left hand and just sweep the black keys in any direction. It is be beautiful. The notes are Db Eb Gb Ab Bb. A good thing to do is to use a spiral. notebook. I write out the diatonic 7ths Db Maj7 a the way to Cmin7b5..It helps to make a better player. A good practice is to get some sheet music paper and write out the chords in both treble and cleft. Always can go to Wikipedia or the like and copy their info.
At 15:18..You did an F blues and then what..I could guess..what was the logic in that part. Enjoying the technique exploration. When playing the downward motions are genenerally easier by a little thing that causes things to fall at 9.8 meters /sec squared. Newton and his Apple. In fact the unnatural movement of any digit up to a black key would be good exercise. I am not referring to a thumb over type situation.
After years of pedantic practice you play in all keys quite intuitively and it works pretty well. But not in B and Bb. In contrast to the other keys, they don't want to work out of the muscle memory straight away, I always have to think first and exactly imagine the pattern. Although there are still some incorrect notes when playing. These two seem to be cursed.
Wilhelm Zorn Aside from the usual sppraches for scale’s sake, try to isolate and enjoy what makes those two keys unique in their appearance on the piano.. I personally enjoy both Bb and B nat for the way the changes feel under my hands.. with respect to shapes, the common chord progressions (ii-V7- I) feel better suited to the shape of our hands.
You two cats are more entertaining AND informative than you realize. It reminds me of my days (YEARS) of yore being in a room of likeminded music buddies just shooting the s@&#. Ah, when time was plentiful and slow. Speaking of… I purchased one of your courses months ago but have yet to dive in (that time thing again), and I was wondering if you might do a segment on the psychological barriers we put on ourselves- like the guilt in devoting ME time over life’s responsibilities? I think that’d be a BIG help for people like me that still have a mental barrier (fear?) to pursuing our true love. 🎹
What I do is to work on a silly standard in TWO KEYS. Main reason is if I can't seem to get it in one key, I play it in a 'simpler' key or one that I can handle (default is Key of C or Bb). Yeh. I don't practice much anymore except to learn something in different keys just to do it. In reality, everyone around here plays chestnuts in the same key signature because...you know...you don't have to think about it. The only ones who need help with keys are singers and so if you can do it, help them out. Oh yeah. As a pianist IT'S PERFECTLY FINE TO PLAY ROOT NOTES IN THE LOWER REGISTER WHEN FORMING CHORDAL ACCOMPANIMENT IN ANY SETTING. This is a big middle finger to bassists who get butthurt when pianist crawl down to 'their space'. It's stupid and it's the way some classless, fearful bass players interact with people. If you're a young'un reading this, REMEMBER THAT. A good slap in the face to a bassist at a gig will help clear things up quickly. LOL!!
As a gospel musician, those keys he mentioned around 6:00 aren’t hard keys. The hardest keys are my strongest. Obviously I don’t know any jazz standards yet. Funny how music works depending on the genre and background.
I'm nearly sixty and only started learning piano last year. I don't have enough time left to practise in all keys! Can you guys recommend a good one to stick with and I'll just use the transpose switch? BTW, loving your channel from a depressing bit of northern England.
Here’s a tip: if you only have time for two keys, do the original key and the key a tritone away (it’s the most different). Playing stuff in Bb feels about the same as playing things in F, but playing something in E feels completely different. If you only have time for 3 or 4 try outlining a diminished chord. Honestly for me this takes care of most of the keys since many of them are similar.
5:16 I didn't subscribe for the podcast stuff. Can you just get straight to the point? I don't care about your comments on Rick Beato I was interested in the theme but I'm very tempted of closing the video
Bruno Neureiter yup. 5:16 is probably the biggest tip in this mildly entertaining episode. We’ve got new non-podcast tutorials coming, we’ll get them separated into playlists so all can get to what they want, thanks for the feedback
Just curious, what type of negative comments can people say about your informative, comprehensive and phenomenal show? I don’t of anything you don’t cover!
Hey guys! Sorry to hear you got bad comments - where anybody with a clear mind only can wonder what‘s going on there. As a musician and Christian I sometimes get entangled in these bad comments when I just cannot stomach them - and ever so often find confirmed what I read that so many of them are only copied and pasted on dozends or hundreds clips - regardless what the clips are about. So be encouraged and thanks for great inspiration! Cheers from Hamburg!
David Alleckna thanks for your words David, much appreciated and spot on. BTW I love Hamburg dearly. Great memories of running along the beautiful lake, great folks, awesome city....congrats!!!
The problem with taking things through the keys chromatically on guitar is that the fingerings stay identical and your brain just shuts off as muscle memory takes over. Different challenges for different instruments.
Sam Rozell for sure. Each instrument presents its own set of technical challenges, were overly biased towards keyboard perspective....but stay tuned, I’m about to learn a new instrument 🎸
Oh I know. I really like the program and seeing/hearing how you guys think. On guitar I think going through the cycle of fourths in one 6 fret spanning position is the way to go. Then move up 6 frets from there and repeat. I appreciate you guys. I’ve gotten a lot of useful knowledge from the show. Thank you!
One thought I've had is that if you're strictly following the alphabetical rule, the circle of fifths doesn't really make any sense. In one direction, you're only adding sharps, and in the other you're only adding flats. They don't magically shift if you don't make them. So if you don't want to have to learn an infinite number of keys, you have to break the alphabetical rule somewhere. I have not tried this yet, but I just had the thought that if you started at C# major and worked around the circle of fourths until you get to Cb major, you would hit every key, AND you'd cover both versions of the keys with 5, 6, and 7 sharps or flats. If you can shift in any of those three tonalities, you should be good, right? I'll try it for a couple of days, and let you guys know if it's worth practicing like this or not.
Alright, update: I've been practicing starting at C# and moving in fifths until I get I get to Cb for a little over a week now. Do practice like this. It's very good. You get the more unfamiliar keys more manageable from practicing them first, going over the three most flatted/sharped keys twice, improves understanding of them MASSIVELY, and you don't have to wonder whether you're going to call it F# or Gb. I would highly recommend this. Practice 15 keys, not 12. Let me know your thoughts, all.
Guilty. I used to go around the circle regularly, but for some reason stopped. I'll practice all 12 keys now in all 12 keys and hopefully I'll be good to go.
isn't there 30 key's? C major w/ no flats or sharps G, D, A, E, B, F#, C# w/ sharps and F, Bb, Eb, Ab, Db, Gb, Cb w/ flats. then double it for the minors?
Peter is a great player and seems better than Adam as a player. But I can tell Adam is a better "teacher". Peter seems like he'd frustrate an aspiring player during a lesson haha. He seems like he'll just do more jamming out then teaching haha. Btw I recommend their website. Good content
I assume you're implying that Peter has a greater technique than Adam, because when a jazz musician is Thoroughly developed and can play what he hears honestly on demand it becomes a matter of personal preference, and one is not "better" than the other.
@@tomscott1741Yes I am saying Peter is a better player. Meaning his capabilities are a bit more superior than that of Adam. However I tend to enjoy how Adam explains and teaches material. Adam seems more like someone I would want as a teacher. And yes there is such a thing as preference. For example some of my favorite players who I personally enjoy are players like Ray Charles or Duke. I would think both players have the capitlietly of playing what they hear on demand. However they are players who are technically more capable them they are. That is what I am saying about Peter. You can see from his playing and Adam's that he is a better player. I even remember Adam making a joke once saying he is second fiddle to Peter on one if their videos. But I digress. And btw Adam is a great player in his own right. He's better than me Haha
@@crazyace88 so you are equating better with more technical proficiency, thank you for clarifying that! You know Lester Young could not play like John Coltrane, technically speaking! But I love them both! As far as blazing technique goes Lester could never compete with Trane, but John Coltrane could never come up with the ideas that Lester does! And vice versa. All you have to do in jazz is be yourself to the best of your ability and you will produce something that is completely unique and original! And that is a beautiful thing
@@tomscott1741 Ummmm. If you say so smh. I think you feel I was taking a shot at Adam or insulting his playing when I was doing the opposite. But you're entitled to your opinion. Yes "to a degree" being more technically sound is having to the ability to play better. I am not speaking of personal taste in someone's playing and/or style. You even mentioned in your last post "to the best of your ability". When measuring a skillset yes I think it's fair to say you can measure someone's capabilities or as you put it ability to determine if someone's skill level is superior than another with lesser ability. Again no one is diminishing Adam's talent as a player. He is awesome to me from everything I heard. Even Adam is getting a laugh out if it and not taking offense. No harm done. And again for whoever is reading this check out their website. Very great learning tools
For me the benefit of 12 keys is little to do with being able to play in 12 keys. It's about abstracting the musical idea from the particular notes in a key so that you hear in intervals and patterns not notes.
Really "dislike" Beato, especially based on his comments on music ed. But still love you two. Still waiting on that "You'll Hear It" jazz scarf. Also waiting on you two to visit my request on using the melody in your solo. What do I gots to do to see that episode? I could... say "please?" Signed, Mr. Spaceman.
@@crazyace88 He really berated music ed in elementary though high school years. As someone who works in education, and who knows the few music teachers still working in schools, I took offense. We need more music and arts in schools, not more fuel for politicians to take them out of schools. STEAM (including the arts) is still relatively new, and what Beato said about music ed was toxic to those that listen to his every word like gospel. That said, I am excited to see his kids progress in music. They are the true musicians in that family :)
I don't want that to detract from what Adam and Peter are doing. Not only are they consummate musicians of the highest caliber that sweat and starve (no more Chiptole, Peter) to put out the best content, they are kind human beings that share their humor and life outside of the jazz arena. Keep on keeping on Adam and Peter. I'll keep wearing my You'll Hear It shirt and spreading it to the masses :)
Hey guys, you are really awesome. But when you carry on doing this great tutorials, nobody will buy your courses anymore, because it is all already there on YT :-) No ... just kidding ... I've bought a lot of courses from you.
Hahahahanits so funny in a very serious and sad way how everyone is so effected by the comments , it’s really sad that Americans love tearing others down , that said you both do a great job and you’re providing a free service that if these shit talkers were capable enough they could learn a lot from your free videos so yeah fuck them you both rule
I just got introduced to that song. I looked it up.. musicnotes.com has a sample free screen shot. Even without the piano in front of me..I can tell this song really moves...I think that it will be fun one to improvise on the piano. PIANOSTYLE100.
Some of Rick's videos are abysmal. His teaching style is poor. Although he has put out more generic videos which are interesting. Also if you think paying $197 for his ear training programming is value for money, then you are an idiot.
@@byronlovelace8379 But he has spent a lot of time researching ear training. Im intrigued to know what his ear training course is like. Nobody else has much on offer.
just learning how controversial Rick is. I will say, I highly recommend his latest, an analysis of Stevie Wonder’s superstition that is spot on, entertaining, and highly informative. I thought I knew everything about that track, and learned a lot new.
These videos are enjoyable. But please do not start playing the piano when somebody is trying to speak. Often Peter starts playing and going into "the zone" when Adam is trying to make a point. It is just rude and frustrating.
Ugh.... ‘we are better than most musicians’.... that’s so cringe even if it’s true. You know how non beneficial that is for everyone to hear that and for yourself actually thinking that? This was such a good video until you said that garbage. MARK MY WORDS, THIS is why people hate the jazz community.
One thing I've learned from both Bach and Beethoven is when you do something, also do it in reverse. The unnaturalness of going around the circle of 4ths backwards helps cement things in your mind/brain. Going up Chromatically then going back down. Same for thirds, same for both Whole Tones and Diminished. Mon/Thur, Tues/Fri, Wed/Sat. You can practice all 12 keys 6 times in 3 different ways and really Internalize the Tune. Also if you want to play fast, learn something slow in Quarter notes right before bedtime, then first thing in the Morning play it at the same tempo in 8th notes, then 16th notes, then 32 Notes, then drop back to 16th Notes. You'll quadruple your speed in less than 24hrs and the Accuracy will amaze you.
This is really useful advice man, thank you x
@@tyzermcallister1423 Thanks Tyzer! I discovered that, working on Giant Steps! I've been working on Giant Steps for about 9 months now. Learning 3 Keys at once is a Huge savings in time and effort. I've learned so much about Music from that one Tune/Chord Progression that to me it has become "The Way", the "Holy Grail" of Scales, Arpeggios, Patterns, Licks! Whatever you get out of the circle of fifths you'll at least become familiar with in One Third the Time. If you learn it in C, Ab and E, by the time you get to E, it's like you've already learned everything and just playing it in a different order. Cheers!
Best to switch instruments for each change. Play the first measure with kazoo, second with harmonica, third measure switch to tuba and then one clarinet in each nostril.
Adam: 05:20 practice ALL keys in the circle of fourths (anticlockwise), starting from Db. Very good idea Adam.. you certainly are an excellent teacher!
All the best
Ray Brown
My thoughts exactly. Awesome teacher
Thanks, very much.
I learned this from Adam just a few weeks ago, it’s a game-changer! #ABL
That's the big point indeed. Tks sir.
yes this was the most valuable advice of the video for me.
The All Key dilemma was correctly explained to me about 20 years ago by a top notch Classical Trombonist. He insisted that all musicians should be able to play in all keys. My reply was that only jazz musicians did that kind of practice and he proceeded to play difficult trombone parts in all keys. This went one for about 30 minutes and I was convinced that all musicians should learn themes and music in all keys by EAR. The reason he gave was that he got tired of reading clef changes during a performance. He could read the clef but for him it was easier to just think in other keys rather than reading the music. This was music that had several modulations and was in the high tessatura for trombone. Good Teaching in your video!
The best way to learn Bach is to transpose each voice to all keys. The original key will be a piece of cake after that.
This series is ridiculously great
I'm a bass player. Personally I'm learning Autumn leaves in all 12 keys. Mastering all my 2 5 1 major/minor. It helps me a lot to understand the mechanism of each key. Afterwards I'll do the same with Blues for Alice and tunes like Misty n All the things you are. Everytime I'm Learning a new key I'll just write down the progressions tothese tunes just to figure out how they look like in that particular key.
My all keys practice routine that's working well for me is I work 1 major key and its parallel minor for 2 days. I tried plowing through many keys in one sitting, but I didn't retain much that way. Staying in 1 key for a week took too long for me to get through all of them. You kinda have to spend time in a key to get it to settle and get comfortable, but you obviously want to get through them in a reasonable amount of time. This way has been working the best for me. It's kinda fun. You get good at transposing, become more fluent, and you don't dread any keys as being hard anymore.
It's reassuring to know that even you guys struggle with this and that it's often "not comfortable" in certain keys. Sometimes your videos can be basically highlight reels of bad-assness, so it's nice to sometimes go through the struggle with you. Thanks for the amazing content. Back to the shed!
Love the channel guys! One of the ways I like to practice all 12 keys, aside from circle of 4ths and chromatic is by moving through all of the interval groups. Expanding on the Chromatic method.. So, chromatic, whole tones, minor 3rds, major 3rds etc. It takes a little while in a practice session, but I like what it accomplishes!
Yes totally!!
You guys are the best on the internet! I love your show
wow. and the internet is huuugge.
Obviously you haven’t done any research on the internet.
I have a notebook full of concepts, chord voicings and moves. I try to always work on learning them in all 12 keys but I keep discovering too much to have time to practice every concept in 12 keys but for sure it's a huge thing in developing as a musician.
I so get what you are saying.
circle of fourths in small increments,a line,a scale,working up to longer things like melodies or changes,and slowly,the key to speed is accuracy.metronome is quite helpful,playing on the click then using the click as the high hat on two and four to start with.
One big plus of practising chromatically is its application to playing tunes because it is common to change key a half step up and down.
Longhaul Blue But it's also very common to change key to a fourth away, especially in jazz.
So inspiring! You guys are such pros!! I can do baby steps in all 12 keys, like the first two measures of something and it hurts my brain! I know you respect Aimee Nolte, so I don't mind mentioning that she has an unedited video of her practicing Misty in all 12 keys that is also inspiring, complete with the parts that are hard for her. Thank you for all you do! And I dig the new pod suite....movin on up ya'll are!!
Aimee Nolte is terrific! It gets real out there in E-major.
april thank you...gonna check that Aimee vid
You guys are very different from each other, and watching you guys work together and be patient with each other really makes for a good combination. You work and explain things super well when you guys let each other flow. It makes me feel comfortable expressing my knowledge seeing two very different people teach from different perspectives and energy levels.
Watching you accommodate each others explanations adds a human aspect that eases my nerves personally and shows me you can understand theory concepts differently. I feel this is very assuring for students.
Also, the audio work is very well done in the video itself. Your voices are up front and warm, and your playing seems to be clean and balanced with the talking.
You guys are the best, I cant find a better resource of learning jazz piano than you guys, and i really love your style of playing. Keep on, Openstudio!
This is just the tip of the iceberg! Check out Peter and Adams courses at Open Studio: openstudiojazz.link/yt-piano
Tian Zheng Gracias! 🙏
one of my favorite topics!, I started by playing the first 20 Hanon exercises going around the circle of 4ths, then set a goal of playing 12 Joplin rags in all 12 keys (which I never finished, I got through 6 rags and moved on to other music), then went back to Hanon and played them all backwards in all 12 keys. These things took a couple years total. I learned a lot about fingering (I do not follow Hanon fingering, I worked out what I think is a better way), and a lot about chord theory (eg Joplin rags almost always end with vi-ii-V-I, sometimes VI-II-V-I, and the last beat of every measure has a diminished harmony note)
Any time I have trouble fingering or timing anything I resort to playing that measure or two in all twelve keys, by the time I get back to the key its written in all the fingering, timing, and rhythm problems are smoothed out.
What I'd really like to have are 30 blues riffs to practice in all 12 keys the way I did the 20 Hanon exercises (I did find a book "Blues Hanon" but nothing in it was recognizable as a riff so I was a bit disappointed), any chance you guys could cook up such a collection, some of the "practice in all keys, 30 day challenge" were riffs and would be a good start ?
When I pick up my instrument, whichever it happens to be, I play my Warm-ups, which include at least scales and arpeggios, In what I call:
(taped to my music stand,)
"Key of day,"
Mon_Gb, B
Tue_C,E
Wed_F,A
Thu_Bb, D
Fri_ Eb,G
Sat_Ab,C
Sun_Db,F#
Majors & relative minors
and they all get gotten to eventually
Cb C C#
- F F#
Bb B -
Eb E -
Ab A -
Db D -
Gb G -
Whatever I practice in C gets practiced in Cb and C# before moving to F.
Cb and C# have no common notes with C, but the names of the notes are the same (ex. a second degree will always be a “D”, sharp or flat). In this way you are transposing to a distant key while staying conceptually close.
This has helped me a lot and I hope it helps you too!
Try practice scale in fiths BUT don’t start from the root. If you start att Db, start att Db. Then when Gb comes start on Db( Db, Eb, F Gb etc) Then B (C#, D#, E,F# etc )
So you’ll can get every key but stay in one place
My fav podcast out there! Keep doing this!!!
Will do.
August Hugmark we keep it up....Adam is forcing me every day haha
Hi Peter and Adam. I'm loving your podcast episodes here on UA-cam. Greetings from Brazil.
Some great info here. I need to start practicing in all keys.
1) when learning songs, do you learn by bass or melody first?
2) What licks and improv go with what chords and progressions?
3) can you break down different descending runs in different keys with proper crossovers. Major and minor pentatonic, blues, bebop. Others
4) walk ups and walk downs, circles and other chromatic and 2-5-1 progressions different on organ and piano.
5) Different approaches in routes and passings for minor, major, talk music, preaching chords, shouts, worship, praise and jams..
6) Do you prefer organists or keyboardist? Can you be busy on keys like you can on organ?
Thanks So much!!!
20 years ago. Came up with the Bead system..I am sure that it's not new. I drew it out. [ (B E A D) G C F (Bb Eb Ab Db) Gb Cb] Learnable in a minute...this literally has given me anew way to think about things. I started to play in Db and actually it has a beautiful sound in itself. I noticed that a beginner can hit a Ab chord or octatave
base on left hand and just sweep the black keys in any direction. It is be beautiful. The notes are Db Eb Gb Ab Bb. A good thing to do is to use a spiral. notebook. I write out the diatonic 7ths Db Maj7 a the way to Cmin7b5..It helps to make a better player. A good practice is to get some sheet music paper and write out the chords in both treble and cleft. Always can go to Wikipedia or the like and copy their info.
@@smoothbuddha7212 I know it's five to ones.. I just call it circle of 4ths.
At 15:18..You did an F blues and then what..I could guess..what was the logic in that part. Enjoying the technique exploration. When playing the downward motions are genenerally easier by a little thing that causes things to fall at 9.8 meters /sec squared. Newton and his Apple. In fact the unnatural movement of any digit up to a black key would be good exercise. I am not referring to a thumb over type situation.
WAITING this for sooo long........great going guys i love your channel. 🎶🎶👍🏼
After years of pedantic practice you play in all keys quite intuitively and it works pretty well. But not in B and Bb. In contrast to the other keys, they don't want to work out of the muscle memory straight away, I always have to think first and exactly imagine the pattern. Although there are still some incorrect notes when playing. These two seem to be cursed.
I agree with B major
Wilhelm Zorn Aside from the usual sppraches for scale’s sake, try to isolate and enjoy what makes those two keys unique in their appearance on the piano..
I personally enjoy both Bb and B nat for the way the changes feel under my hands.. with respect to shapes, the common chord progressions (ii-V7- I) feel better suited to the shape of our hands.
All good advice !!
You two cats are more entertaining AND informative than you realize. It reminds me of my days (YEARS) of yore being in a room of likeminded music buddies just shooting the s@&#. Ah, when time was plentiful and slow. Speaking of…
I purchased one of your courses months ago but have yet to dive in (that time thing again), and I was wondering if you might do a segment on the psychological barriers we put on ourselves- like the guilt in devoting ME time over life’s responsibilities? I think that’d be a BIG help for people like me that still have a mental barrier (fear?) to pursuing our true love. 🎹
Great podcast thank you for sharing.
You are so great !!!
Thanks have been wondering how to practice this effectively recently
You guys rock-ignore the haters! Free killer content what's to hate
jakemf1 🙏
yeah! Russel Crow is quite the moosic noob! Lovin it!
This is really helpful! Really appreciate! Thank you guys!
Tian Xing 🙏🙏🙏🙏
This is amazing, love the way you talk about these ideas!
Amazing!!!!! Thank you so much!!!! Make a video about playing outside!
Thanks, Tomaz. Will do.
Tomaz Vital too cold here now...but when Spring comes, yeah
@@pianopeter Hahahahahaha!
Excellent ideas guys! Thank you.
👏👏 I admire your dexterity Sirs. That is my challenge Sir. How can I improve?
Sometimes during the intros, I get a very Jim Halpert/Michael Scott vibe from Adam and Peter.
John Horne hope I’m Jim!!!!
What I do is to work on a silly standard in TWO KEYS. Main reason is if I can't seem to get it in one key, I play it in a 'simpler' key or one that I can handle (default is Key of C or Bb). Yeh. I don't practice much anymore except to learn something in different keys just to do it. In reality, everyone around here plays chestnuts in the same key signature because...you know...you don't have to think about it. The only ones who need help with keys are singers and so if you can do it, help them out. Oh yeah. As a pianist IT'S PERFECTLY FINE TO PLAY ROOT NOTES IN THE LOWER REGISTER WHEN FORMING CHORDAL ACCOMPANIMENT IN ANY SETTING. This is a big middle finger to bassists who get butthurt when pianist crawl down to 'their space'. It's stupid and it's the way some classless, fearful bass players interact with people. If you're a young'un reading this, REMEMBER THAT. A good slap in the face to a bassist at a gig will help clear things up quickly. LOL!!
Great stuff guys
Just excellent tips and advise, thanks
As a gospel musician, those keys he mentioned around 6:00 aren’t hard keys. The hardest keys are my strongest. Obviously I don’t know any jazz standards yet. Funny how music works depending on the genre and background.
Thanks for this as always. You guys are great. Please include camera so we can see the fingers and we can check the fingerings
please make a tutorial on how to play the "You'll Hear It" theme song?
Musa Nhlapo go to 1:35
Lil late, but it's the tune emotion in motion by Peter martin
Thanks, guys!
So bottom line is that we should sometimes go up chromatically with the same voicing, sometimes go up a fourth / down a fifth but changing inversions?
You guys are sadistic. In a good way. You’ve managed to put the torture back into practice, Just the way we like it
This is great! Thank you guys
Juan Pía 🙏🙏🙏🙏
What song is this at 4:08?
I'm nearly sixty and only started learning piano last year. I don't have enough time left to practise in all keys! Can you guys recommend a good one to stick with and I'll just use the transpose switch? BTW, loving your channel from a depressing bit of northern England.
You have time
But you dont need to take everyrhing you do through all the keys if it isnt of any practical use!
Here’s a tip: if you only have time for two keys, do the original key and the key a tritone away (it’s the most different). Playing stuff in Bb feels about the same as playing things in F, but playing something in E feels completely different. If you only have time for 3 or 4 try outlining a diminished chord.
Honestly for me this takes care of most of the keys since many of them are similar.
Dude was talking like he's about to croak when he wasn't even retirement age.
5:16
I didn't subscribe for the podcast stuff. Can you just get straight to the point? I don't care about your comments on Rick Beato I was interested in the theme but I'm very tempted of closing the video
Bruno Neureiter yup. 5:16 is probably the biggest tip in this mildly entertaining episode. We’ve got new non-podcast tutorials coming, we’ll get them separated into playlists so all can get to what they want, thanks for the feedback
how do you deal with slow finger movements to get faster?
Just curious, what type of negative comments can people say about your informative, comprehensive and phenomenal show? I don’t of anything you don’t cover!
What happened to the instagram page? Says it doesnt exist
This is valuable knowledge! - The Moon Rabbit
What is the software you guys are using for the screen keyboard.
Very good 👍
Can you share the sheet of the theme?
9:01 _Bird Up!_
Hey guys! Sorry to hear you got bad comments - where anybody with a clear mind only can wonder what‘s going on there. As a musician and Christian I sometimes get entangled in these bad comments when I just cannot stomach them - and ever so often find confirmed what I read that so many of them are only copied and pasted on dozends or hundreds clips - regardless what the clips are about. So be encouraged and thanks for great inspiration! Cheers from Hamburg!
David Alleckna thanks for your words David, much appreciated and spot on. BTW I love Hamburg dearly. Great memories of running along the beautiful lake, great folks, awesome city....congrats!!!
@@pianopeter Hi Peter! Thanks, man! Be sure to be invited on a beer next to time you come! Cheers - or as we say: Moin Moin!
That woo at 12:20.... me too man
What's the into song?
The problem with taking things through the keys chromatically on guitar is that the fingerings stay identical and your brain just shuts off as muscle memory takes over. Different challenges for different instruments.
Sam Rozell for sure. Each instrument presents its own set of technical challenges, were overly biased towards keyboard perspective....but stay tuned, I’m about to learn a new instrument 🎸
Oh I know. I really like the program and seeing/hearing how you guys think. On guitar I think going through the cycle of fourths in one 6 fret spanning position is the way to go. Then move up 6 frets from there and repeat. I appreciate you guys. I’ve gotten a lot of useful knowledge from the show. Thank you!
Use chord inversions
Hello, I like you and your channel and your T-shirt! That's all (easy comment)! 😃
One thought I've had is that if you're strictly following the alphabetical rule, the circle of fifths doesn't really make any sense. In one direction, you're only adding sharps, and in the other you're only adding flats. They don't magically shift if you don't make them. So if you don't want to have to learn an infinite number of keys, you have to break the alphabetical rule somewhere. I have not tried this yet, but I just had the thought that if you started at C# major and worked around the circle of fourths until you get to Cb major, you would hit every key, AND you'd cover both versions of the keys with 5, 6, and 7 sharps or flats. If you can shift in any of those three tonalities, you should be good, right? I'll try it for a couple of days, and let you guys know if it's worth practicing like this or not.
Alright, update:
I've been practicing starting at C# and moving in fifths until I get I get to Cb for a little over a week now. Do practice like this. It's very good. You get the more unfamiliar keys more manageable from practicing them first, going over the three most flatted/sharped keys twice, improves understanding of them MASSIVELY, and you don't have to wonder whether you're going to call it F# or Gb. I would highly recommend this.
Practice 15 keys, not 12.
Let me know your thoughts, all.
Hit the harder keys first. Makes so much sense - you are right🙌🏾.
Guilty. I used to go around the circle regularly, but for some reason stopped. I'll practice all 12 keys now in all 12 keys and hopefully I'll be good to go.
I cracked up at 5:29
PM sing-speak, lol.
laughing at me I hope..that’s what i did upon watching...geez
@@pianopeter Never change, Peter.
isn't there 30 key's? C major w/ no flats or sharps G, D, A, E, B, F#, C# w/ sharps and F, Bb, Eb, Ab, Db, Gb, Cb w/ flats. then double it for the minors?
Peter is a great player and seems better than Adam as a player. But I can tell Adam is a better "teacher". Peter seems like he'd frustrate an aspiring player during a lesson haha. He seems like he'll just do more jamming out then teaching haha. Btw I recommend their website. Good content
I assume you're implying that Peter has a greater technique than Adam, because when a jazz musician is Thoroughly developed and can play what he hears honestly on demand it becomes a matter of personal preference, and one is not "better" than the other.
@@tomscott1741Yes I am saying Peter is a better player. Meaning his capabilities are a bit more superior than that of Adam. However I tend to enjoy how Adam explains and teaches material. Adam seems more like someone I would want as a teacher. And yes there is such a thing as preference. For example some of my favorite players who I personally enjoy are players like Ray Charles or Duke. I would think both players have the capitlietly of playing what they hear on demand. However they are players who are technically more capable them they are. That is what I am saying about Peter. You can see from his playing and Adam's that he is a better player. I even remember Adam making a joke once saying he is second fiddle to Peter on one if their videos. But I digress.
And btw Adam is a great player in his own right. He's better than me Haha
This is fair..lol.
@@crazyace88 so you are equating better with more technical proficiency, thank you for clarifying that!
You know Lester Young could not play like John Coltrane, technically speaking! But I love them both! As far as blazing technique goes Lester could never compete with Trane, but John Coltrane could never come up with the ideas that Lester does! And vice versa.
All you have to do in jazz is be yourself to the best of your ability and you will produce something that is completely unique and original! And that is a beautiful thing
@@tomscott1741 Ummmm. If you say so smh. I think you feel I was taking a shot at Adam or insulting his playing when I was doing the opposite. But you're entitled to your opinion. Yes "to a degree" being more technically sound is having to the ability to play better. I am not speaking of personal taste in someone's playing and/or style. You even mentioned in your last post "to the best of your ability". When measuring a skillset yes I think it's fair to say you can measure someone's capabilities or as you put it ability to determine if someone's skill level is superior than another with lesser ability. Again no one is diminishing Adam's talent as a player. He is awesome to me from everything I heard.
Even Adam is getting a laugh out if it and not taking offense. No harm done. And again for whoever is reading this check out their website. Very great learning tools
thanks for this! its great when i drive my car
We are the best
For me the benefit of 12 keys is little to do with being able to play in 12 keys. It's about abstracting the musical idea from the particular notes in a key so that you hear in intervals and patterns not notes.
This guy was ok but I prefer the guy with the hat!! Bring him back 👍
Okay now mashup your 7 funkest Breaks/Intros with practicing in 12 keys that should leave you head spinning like after a Funkadelics concert.
so bought myself a piano. bloody hell its hard...
8:02 the "oh my voicings are so hip" face
ok camaradas
The fellas
Really "dislike" Beato, especially based on his comments on music ed. But still love you two. Still waiting on that "You'll Hear It" jazz scarf. Also waiting on you two to visit my request on using the melody in your solo. What do I gots to do to see that episode? I could... say "please?" Signed, Mr. Spaceman.
What did he say about music ed
@@crazyace88 He really berated music ed in elementary though high school years. As someone who works in education, and who knows the few music teachers still working in schools, I took offense. We need more music and arts in schools, not more fuel for politicians to take them out of schools. STEAM (including the arts) is still relatively new, and what Beato said about music ed was toxic to those that listen to his every word like gospel. That said, I am excited to see his kids progress in music. They are the true musicians in that family :)
Just buy his $197 ear training course its far better than anything else 🙄
I don't want that to detract from what Adam and Peter are doing. Not only are they consummate musicians of the highest caliber that sweat and starve (no more Chiptole, Peter) to put out the best content, they are kind human beings that share their humor and life outside of the jazz arena. Keep on keeping on Adam and Peter. I'll keep wearing my You'll Hear It shirt and spreading it to the masses :)
Beato thinks he is better than you
Did you write the Plant vs Zombies jingle?
One does not simply promote MacDonald's.
This is way over my head
It would have been nice if you could play it very slow first
Miss the beard!
Hey guys, you are really awesome.
But when you carry on doing this great tutorials, nobody will buy your courses anymore, because it is all already there on YT :-)
No ... just kidding ... I've bought a lot of courses from you.
😬
Hahahahanits so funny in a very serious and sad way how everyone is so effected by the comments , it’s really sad that Americans love tearing others down , that said you both do a great job and you’re providing a free service that if these shit talkers were capable enough they could learn a lot from your free videos so yeah fuck them you both rule
“I’m lovin it!....McDonald’s”.............
*Hits subscribe button
12 keys that's it? try practicing in all 30 keys
I just got introduced to that song. I looked it up.. musicnotes.com has a sample free screen shot. Even without the piano in front of me..I can tell this song really moves...I think that it will be fun one to improvise on the piano. PIANOSTYLE100.
Eb easy??? it's one of the worst for me
Keys are way to loud, can’t hear any of the commentary over them
this is a negative comment >:(
Rick Beato??? I have Rick Beato blocked!!!
Why?
Some of Rick's videos are abysmal. His teaching style is poor. Although he has put out more generic videos which are interesting. Also if you think paying $197 for his ear training programming is value for money, then you are an idiot.
@@byronlovelace8379 But he has spent a lot of time researching ear training. Im intrigued to know what his ear training course is like. Nobody else has much on offer.
just learning how controversial Rick is. I will say, I highly recommend his latest, an analysis of Stevie Wonder’s superstition that is spot on, entertaining, and highly informative. I thought I knew everything about that track, and learned a lot new.
These videos are enjoyable. But please do not start playing the piano when somebody is trying to speak. Often Peter starts playing and going into "the zone" when Adam is trying to make a point. It is just rude and frustrating.
Ugh.... ‘we are better than most musicians’.... that’s so cringe even if it’s true. You know how non beneficial that is for everyone to hear that and for yourself actually thinking that? This was such a good video until you said that garbage.
MARK MY WORDS, THIS is why people hate the jazz community.
Shut up