Seeing you as well as your hands on the keyboard is great, much better to actually see you as well, more like a real lesson. Thanks for all the videos and help.
Kent, thank you so much for taking the time to make these fantastic videos to help us be better and get better at jazz piano improv. I have learned more from your videos than anything out there without a doubt!
Lovely version yours! It was Keith Jarrett who revealed this number to my ears via the 'tribute' album where he's litterally "living" this song with an incredible intensity, honoring fully the statements of Miles at the beginning of your vidéo. Thanks!
Hi Kent, This is very helpful for me.The way you presented it, starting from general approach to improvisation, or how to make start, going towards artistic expression, once material is internalised. Thank you for sharing this and for your efforts.
It seems to me that all the early Miles is good for an approach like shown in the video. As a beginner, I had some eye-openers with "Tune up" and "Four".
1st, I have to get a good Lead Sheet (there are bad ones...). 2nd, I have to get my Left Hand chords, inversions, rootless inversions, alternatives so they are 2nd Nature to me. THEN I can watch your video and get into modes, scales and Right Hand stuff. That's the only way this works for me. Very grateful to you!
That's a journey. All I can say is, if you enjoy the journey, then you will have success. That's exactly how it worked for me...and why I'm here writing to you today.
This was very helpful Kent. At least I have a starting point knowing the tune but now to work on the scales. You are always so generous with your teaching and thank you for allowing us into your home. 🎶🎶🎹🥁😄
Try using the melody of the tune as the basis for your improvisation. Always think in motifs, sentences, paragraphs with music, figures in a painting, etc., not just the mechanics.
Hi Kent, The overlapping of those things you mentioned in Part II is also called a Hemiole(of course you know that) Thank you for your inspiration, and great improvisation it is realy an inspiration fot me!
How sweet it is... That's how I wish to play, smooth Jazz piano.. Very nice Kent, you certainly got my attention on this one. Excellent piece...Thank you.
Solar is a good one for practicing ... it teaches good scale movements along with a very interesting sound .. not boring!! Of course Miles was never boring anyway...Cool outfit Kent .. nice taste you have sir.......
I'm not a fan of all of Miles stages, but in many ways he was the most complete musician, because he never stopped growing and changing. And of course we can learn a lot about style from Miles.
Where are they? Anyway it's fascinating who writes to me from far parts of the world. I need a world map with pins to stick into the locations, you know?
HI kent you are a very good instructor I always learn something from you you are leaving a legacy like Bill Evenson all of the great guys in jazz music thank you for sharing the video I'm going to practice that I like that . Descending patterns
I have to ask you, if you have this take on the tune written out because it is amazing, and I have always loved your solos, your takes on a particular piece are most musical. I love what you do Kent and your website is very helpful. Best regards, Fran.
@@KentHewittpiano88 Hey Kent! It was in reference to the pre-recorded final clip! It's when you do a 2-5-1 to A-flat where I heard a similar line to These Foolish Things melody!
Wow man that I can see you playing now why are you working I can look at you why do you think keith jerwitts And what do you think about his style of playing I liked all the noise in the movements I do that sometimes but I feel embarrassed but it helps bring the music out
I agree...it's what he needs to feel his music...and I know I do some of that....but I try not to...because it's distracting. How about Erroll Garner and Oscar...who both did that?
I love your intro, that's groovy man. As a matter of fact, you might do a video on ideas for creating intros (or intro ideas) for uptempo tunes like this one - - that's a nice aspect of your playing and hip sound...
Man, I never like having to say it, but it's gotta be said! Solar was actually written by guitarist Chuck Wayne, originally titled "Sonny" for Sonny Berman. The only thing Miles changed about Chuck's tune was the first chord, as Miles changed it to a Cmi(ma7) chord from a Cma7. Here's the article I read, blogs.loc.gov/music/2012/07/chuck-wayne-sonny-solar/. Same goes for Tune Up and Four, which were written by Eddie "Cleanhead" Vinson.
Thanks for sharing the clarification of the truth. My friend played with Wayne and told me Wayne told him that it was his idea for the concept of the George Shearing sound. That's some striking insight. Of course this doesn't in any way diminish the impact that Miles or George had on the jazz world.
Hi Kent, is it possible to play on a C7 altered first amelodic major nine arpeggio and than mirroring it in Dbminor major arpeggio? so from outsight more going "insight"...and is it so that that is may be already theory of outsight playing I guess because of the same patern...variing in the range of dissonance I suppose...
Do you mind re-typing this question? This question requires such a complex answer, I can't do it here. But generally, a half step relationship either up or down.... and the basic scale or arpeggio will be sufficient to create the desired effect.
Love this, Kent! Hey, tutorial request aside, what did you think of the 1961 link of Ellington and Coltrane's version of 'In a Sentimental Mood'---specifically Ellington's piano part? Was interested in hearing your thoughts. A lot of people put that version at the very top of their favorite romantic jazz sides. Thanks, Kent.
A classic. Check out 'Trane's "Naima." And Brecker's "In.... Mood," on EWI, both on uTube. Try the Brecker called "Steps Ahead LIve Tokio (sic) 1986, 30th July In a Sentimental Mood Trains." That way, you can hear Mike play tenor sax, too. He's the logical extension on the tenor (my instrument). And, there's a connection to the KH himself in this video!
Hello Kent !!! I am yves from the beaujolais in France !!! I run to my piano to play solar and i will play all thoses modes and i will give you news on your websight
1. Regarding left hand comping whilst soloing in the right hand, what rules describe lateral voicing within a particular tonal center; i.e., as to a Bb Major tonal center signposted by a run of the mill 2-5-1 progression (C-7, F7, Bb Maj 7), what are other "inner" voiding choices OTHER than the standard "rootless" chordal outlines of (for example), Eb-G-Bb-D > Eb-G-A-D > D-F-A-C? I see / hear pianists use lateral movement in addition to the described choices. Is it just "sidestepping" (up or down a half step of the same voicing)? Or something else? 2. Regarding voicing choices themselves, heretobefore we've seen you in solo mode, with spread voicings, tenths, etc., involving use of the root. In a trio setting, bass players don't "sit" on the root, yet either play it outright or imply it, so as to keep the forward movement going. Hence, query: Can a pianist in a standard trio setting nevertheless use voicings with the root? If so, how much? Or do bass players get upset at such shennanigans? 3. I just learned that: (a) Gerry Mulligan was a good pianist, and played sets half bari sax, half piano, and (b) Bill Evans (the pianist, not the saxophonist) was a serious flutist. Thanks for all you do.
That's a loaded question, bro. There's no standard way of voicing....otherwise it would be too mechanical...so I usually use a combination of rootless voicings, changing and random LH inversions, plus open 7ths and 10ths, and just roots, resulting in a mix that is inspired by the moment. I don't worry about the bass player, because even though I listen to him and his pulse, he still needs to get cues from the pianist.
@@KentHewittpiano88 1. "[c]hanging and random LF inversions" .... hmm... OK, is that CARLFI of (a) said rootless voicings (e.g., for F7, Eb-G-A-D > D-Eb-G-A); (b) of rooted block chord voicings (e.g., F-A-C-Eb > A-C-Eb-F); (c) some combination of holding down a couple of the notes of a voicing and moving the other two; (d) all of the above; or (e) something else? 2. "I don't worry about the bass player, because even though I listen to him and his pulse, he still needs to get cues from the pianist.": in saxworld, I have to admit that we are the worst offenders (hopefully not yours truly, but, sadly, the majority of us, at least the ones not at the top of the food chain) don't actually play Jazz and instead just run the same chordal and scalar patterns they've been taught - and they all pretty much play the same thing. They don't listen to the rhythm section; they just show off their fine technique. So, in the war / interplay between piano / bass / drums, who runs the show as to the three? 3. Good to know I can use some open 7ths and 10ths with a bass player without him / her throwing a bow or something at me!
Nice. I'll just add 3 little points. 1.Miles Davis stole - not wrote - this tune. 2. 12-bar is of course a common blues form, and indeed this tune can be regarded as a modified blues. 3. The first chord is often played as a major-minor, with a concomitant scale that includes the major seventh, so not Dorian. But it's a matter of choice; Dorian can work too.
Playing piano in various groups and settings, writing music and arranging, and teaching. I also was a banker, and a holistic health practitioner at one time.
I’ve been trying to learn to improvise for a while all I can do is 12 bar blues and I still get lost. I have no idea how to keep time and know what chord I am.
Thanks for the help GD. Please check my playlists on using the metronome, to help with timing. ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists?disable_polymer=1
Wow! Another awesome video. The one part that I'm struggling to understand is how you chose the scales (modes)? Is it just personal preference (what sounds good) or is there a science to it? Thanks for sharing!
Part 2 talks more about this. What sounds good to you is always the final factor. However, good theory and intellect play a strong part. You need to learn all your scales and modes and how they fit specific chords in a progression. Go to playlists on scales and improvisation: ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists?disable_polymer=1
hey kent, the sound seems really poor in this vid for some reason. was just wondering if you knew why? all the best. thanks again for a great vid. ps its really great to be able to see you at the piano!
The part with the backing track or just in general? It could be the sound of the backing track...too loud? The sound is recorded only on the camera on the overhead view...I'm not using any external mics. I tried using external mics and everything got too complicated...sorry. It's hard enough syncing up two cameras.
@@KentHewittpiano88 no just in the introduction.. Sounds a bit like its on an old tape. But I wrote that comment as I was watching and it only lasts a minute so don't worry about it. Hope we get to see more of these great angles. Thanks again for the extra effort! I went and learned this song already, it's great! Kent.. Two years ago when I first started watching your vids it was so over my head... But now I can follow you on simpler tunes!
@@KentHewittpiano88 Ah, but you haven't lived until you've taken a keyboard, an amp, AND a tenor saxophone (plus busking goodies) on the NYC subway and climbed those stairs (because there is usually no elevator). Actually, my cart isn't too bad. I can lift it up the stairs on my inner elbow. Horn on the shoulder, keyboard in a Gator keyboard backpack case. The worst part is getting on the bus in NJ to get to NYC.
I don't believe you given away the stuff for free I got to get me a printer that's a book right there. Do you me a favor go look at this video and you'll knock off your version of this UA-cam it please (THE MODES: a Basic Introduction with a Crazy Continuation).
Thanks for the comment. 90% of my videos are solo (if you've watched some). Backing tracks are useful for freeing you up to play in ways that are not possible when playing solo.
KH is the coolest cat in the northeast
Evan...you've just been invited into the "elite club".
"Practice chords and their right scales that sound logically" Right on the head of the nail when improvising.
Thanks for the affirmation!
Love the way you play the tune, Ken as well as all the ideas you develop in your playing.
Thanks so much for the comment!
I definitely see the importance of knowing your chords and scales now more than ever. Very Impressive Kent. Thank you so very much.
Keith...your comments are right on and very helpful...thanks!
Kent is the swingin-est cat around! Thank you so much for your videos, I’ve learned so much from you!
Seeing you as well as your hands on the keyboard is great, much better to actually see you as well, more like a real lesson. Thanks for all the videos and help.
Thanks for the affirmation. It's a lot more work using 2 cameras because I don't have a techie setup...need to learn more.
Liking the two camera approach
That helps me...thanks!
Out-fn-standing. Absolutely love ur playing Kent! Greatest teacher on yt!
Thanks so much
Great lesson Kent, your passage about how to be get good to play elongated lines is very helpful and could be a topics by itself. Thanks for all.
Great playing Kent. I’m inspired
Thanks for telling me!
The best thing I could say about Kent playing is - "comfortable with edge "beauty !! Thanks, Kent.
That's just about the best compliment I've had ever!!
Thank you for your input opened my eyes , nice approach
Glad it was helpful!
Grown soo much musically this year and am now starting to tackle jazz piano. This is very helpful. Thank you
I'm glad to hear that, and thanks for telling me.
Kent, thank you so much for taking the time to make these fantastic videos to help us be better and get better at jazz piano improv. I have learned more from your videos than anything out there without a doubt!
That's a great compliment and helpful to me...many thanks!
Lovely version yours! It was Keith Jarrett who revealed this number to my ears via the 'tribute' album where he's litterally "living" this song with an incredible intensity, honoring fully the statements of Miles at the beginning of your vidéo. Thanks!
My favorite version of this song is by Keith, at the Deer Head Inn....check it out...it's amazing.
Great ! It IS very helpfull ! Thank you Kent !
You are very welcome!
Thank you!
Another great video. I love that classic jazz trio sound, and lots of explanation to go with it. Thanks so much!
Thanks for writing and the encouragement!
Great lesson Kent! Can't wait for part 2!
Part 2 is out!
Kent you are the man! Your way of explaining piano and the mechanics of the keys is simply flawless always - not to mention your playing!
That's a great compliment....very helpful to me...I'll keep going.
Excellent lesson. Thanks
Glad you liked it!
Hi Kent,
This is very helpful for me.The way you presented it, starting from general approach to improvisation, or how to make start, going towards artistic expression, once material is internalised. Thank you for sharing this and for your efforts.
That's a wonderfully expressed compliment and very perceptive....I really appreciate your comment, because it helps me to know how to move forward .
🎼 Very helpful tips. Like the videography with the picture in picture. / Thanks 🎶
Lovely Kent !!!
Great, thanks Kent
Thank you!
Thanks for sharing you're jazz piano knowledge! You have a knack for breaking down complicated concepts and presenting them in a much simpler way!
That's one of the best compliments I've gotten...blessings!
It seems to me that all the early Miles is good for an approach like shown in the video. As a beginner, I had some eye-openers with "Tune up" and "Four".
Yes...youre' right...Miles Prestige albums were the standard for many of the best songs...whether jazz tunes or great American songbook.
What a terrific solo!
Thanks so much, Judy!
1st, I have to get a good Lead Sheet (there are bad ones...). 2nd, I have to get my Left Hand chords, inversions, rootless inversions, alternatives so they are 2nd Nature to me. THEN I can watch your video and get into modes, scales and Right Hand stuff. That's the only way this works for me. Very grateful to you!
That's a journey. All I can say is, if you enjoy the journey, then you will have success. That's exactly how it worked for me...and why I'm here writing to you today.
@@KentHewittpiano88 Yup! It's definitely working!
Great yet again. Bless you.
Blessings!
Kent, you're the best! Thanks for this lesson.
Thanks for a great comment!
This was very helpful Kent. At least I have a starting point knowing the tune but now to work on the scales. You are always so generous with your teaching and thank you for allowing us into your home. 🎶🎶🎹🥁😄
Try using the melody of the tune as the basis for your improvisation. Always think in motifs, sentences, paragraphs with music, figures in a painting, etc., not just the mechanics.
Hi Corinne. I'm happy to invite you into my home...I wish I had a music studio , but that isn't the case, nevertheless I'm grateful.
Hi Kent, The overlapping of those things you mentioned in Part II is also called a Hemiole(of course you know that) Thank you for your inspiration, and great improvisation it is realy an inspiration fot me!
How sweet it is... That's how I wish to play, smooth Jazz piano.. Very nice Kent, you certainly got my attention on this one. Excellent piece...Thank you.
Got your attention...I love that comment!
Solar is a good one for practicing ... it teaches good scale movements along with a very interesting sound .. not boring!!
Of course Miles was never boring anyway...Cool outfit Kent .. nice taste you have sir.......
I'm not a fan of all of Miles stages, but in many ways he was the most complete musician, because he never stopped growing and changing. And of course we can learn a lot about style from Miles.
Thank you very much for all your lessons and genial advices.
Greetings from the Canary Islands
Where are they? Anyway it's fascinating who writes to me from far parts of the world. I need a world map with pins to stick into the locations, you know?
Kent Hewitt ✋🏼In the Atlantic Ocean, southwest of Spain and northwest of Africa, near the coast of Morocco.
Good to see you again!
Good to see you, too!
HI kent you are a very good instructor I always learn something from you you are leaving a legacy like Bill Evenson all of the great guys in jazz music thank you for sharing the video I'm going to practice that I like that . Descending patterns
Hi Emmett, always great to hear from you, and you're still listening. I'm glad you like the new video, and are getting some good tips.
The hippest of the hip!
Takes one to know one...love you, Joe.
Excellent lesson, Kent! Can't go wrong with Miles Davis.
Love the pic-in-pic, by the way--great idea! The haunted drapes is a nice touch, too.
Haunted drapes...is that because it was just Halloween? I don't know many scary tunes...how about Ghost of a Chance?
Sir, do any tune you like; just keep the lessons coming!
I have to ask you, if you have this take on the tune written out because it is amazing, and I have always loved your solos, your takes on a particular piece are most musical. I love what you do Kent and your website is very helpful. Best regards, Fran.
Oh yes, go to my website ...there's a free score there for "Solar".
@@KentHewittpiano88 Thanks so much !
Thank you very much, Kent, it' really helpful. Greetings, Peter
Greetings, and thanks!
Hello Kent Hewitt! What a wonderful video. May I know what backing you used in this video? Thank you!
I make my own backing tracks using Band in a Box and Real musicians.
Thx Kent. Extremely helpful.
Thank you!
Great video, thanks a bunch !
Glad you liked it!
Spending a couple of hours on this one !cool fellings !
I like your style!
Best comment ever!
Thank you for this wonderful tutorial of Solar. In the outro, I think I heard a line from These Foolish Things!
Do you mean the out- chorus I played or in the pre-recorded final clip?
@@KentHewittpiano88 Hey Kent! It was in reference to the pre-recorded final clip! It's when you do a 2-5-1 to A-flat where I heard a similar line to These Foolish Things melody!
Wow this is jazz!
Yes, there's a distinct difference between American Song Book Standards and Jazz Standards. Do you know what the difference is?
@@KentHewittpiano88 I don't know.. But your touch is awesome
Thanks, I'm gonna work on this later, gotta rest for a minute, played it on my bass trumpet...
Wow, bass trumpet, awesome!
Wow man that I can see you playing now why are you working I can look at you why do you think keith jerwitts
And what do you think about his style of playing I liked all the noise in the movements I do that sometimes but I feel embarrassed but it helps bring the music out
I agree...it's what he needs to feel his music...and I know I do some of that....but I try not to...because it's distracting. How about Erroll Garner and Oscar...who both did that?
I love your content man !!! “Squares not allowed” yessir 😎
Thanks!! I got that from a Hank Mobley tune called: No Room For Squares".
I love your intro, that's groovy man. As a matter of fact, you might do a video on ideas for creating intros (or intro ideas) for uptempo tunes like this one - - that's a nice aspect of your playing and hip sound...
Thanks for a great comment!
Great video. What’s the song in intro?
Man, I never like having to say it, but it's gotta be said! Solar was actually written by guitarist Chuck Wayne, originally titled "Sonny" for Sonny Berman. The only thing Miles changed about Chuck's tune was the first chord, as Miles changed it to a Cmi(ma7) chord from a Cma7. Here's the article I read, blogs.loc.gov/music/2012/07/chuck-wayne-sonny-solar/. Same goes for Tune Up and Four, which were written by Eddie "Cleanhead" Vinson.
Thanks for sharing the clarification of the truth. My friend played with Wayne and told me Wayne told him that it was his idea for the concept of the George Shearing sound. That's some striking insight. Of course this doesn't in any way diminish the impact that Miles or George had on the jazz world.
Love the vinyl KH
WE have vinyl parties every year here.
Awesome❣️👍🏻🎶
Thank you!
amazing
Many thanks!
3:51 the lick!
?
so helpful! thanks Kent! any tips on how to actually figure out those scales that work for each chord?
Please check out my playlists (channel page) for info on finding scales for chords. Also I now a a part 2 of this video.
I know I'm a little late to the party but that was great man !
You're never too late, and I'm delighted when I get a "delayed" comment.
THANKS
thanks again.
Thanks!
Hi Kent, is it possible to play on a C7 altered first amelodic major nine arpeggio and than mirroring it in Dbminor major arpeggio? so from outsight more going "insight"...and is it so that that is may be already theory of outsight playing I guess because of the same patern...variing in the range of dissonance I suppose...
Do you mind re-typing this question? This question requires such a complex answer, I can't do it here. But generally, a half step relationship either up or down.... and the basic scale or arpeggio will be sufficient to create the desired effect.
It works so good !!!! Sorry i have no time to talk i am playing !lol
I'm glad to hear it!
Love this, Kent!
Hey, tutorial request aside, what did you think of the 1961 link of Ellington and Coltrane's version of 'In a Sentimental Mood'---specifically Ellington's piano part? Was interested in hearing your thoughts. A lot of people put that version at the very top of their favorite romantic jazz sides. Thanks, Kent.
A classic. Check out 'Trane's "Naima." And Brecker's "In.... Mood," on EWI, both on uTube. Try the Brecker called "Steps Ahead LIve Tokio (sic) 1986, 30th July In a Sentimental Mood Trains." That way, you can hear Mike play tenor sax, too. He's the logical extension on the tenor (my instrument). And, there's a connection to the KH himself in this video!
Hello Kent !!! I am yves from the beaujolais in France !!! I run to my piano to play solar and i will play all thoses modes and i will
give you news on your websight
Please do...I love to hear from people who learn from my videos. Keep up the good work.
1. Regarding left hand comping whilst soloing in the right hand, what rules describe lateral voicing within a particular tonal center; i.e., as to a Bb Major tonal center signposted by a run of the mill 2-5-1 progression (C-7, F7, Bb Maj 7), what are other "inner" voiding choices OTHER than the standard "rootless" chordal outlines of (for example), Eb-G-Bb-D > Eb-G-A-D > D-F-A-C? I see / hear pianists use lateral movement in addition to the described choices. Is it just "sidestepping" (up or down a half step of the same voicing)? Or something else? 2. Regarding voicing choices themselves, heretobefore we've seen you in solo mode, with spread voicings, tenths, etc., involving use of the root. In a trio setting, bass players don't "sit" on the root, yet either play it outright or imply it, so as to keep the forward movement going. Hence, query: Can a pianist in a standard trio setting nevertheless use voicings with the root? If so, how much? Or do bass players get upset at such shennanigans? 3. I just learned that: (a) Gerry Mulligan was a good pianist, and played sets half bari sax, half piano, and (b) Bill Evans (the pianist, not the saxophonist) was a serious flutist. Thanks for all you do.
That's a loaded question, bro. There's no standard way of voicing....otherwise it would be too mechanical...so I usually use a combination of rootless voicings, changing and random LH inversions, plus open 7ths and 10ths, and just roots, resulting in a mix that is inspired by the moment. I don't worry about the bass player, because even though I listen to him and his pulse, he still needs to get cues from the pianist.
@@KentHewittpiano88 1. "[c]hanging and random LF inversions" .... hmm... OK, is that CARLFI of (a) said rootless voicings (e.g., for F7, Eb-G-A-D > D-Eb-G-A); (b) of rooted block chord voicings (e.g., F-A-C-Eb > A-C-Eb-F); (c) some combination of holding down a couple of the notes of a voicing and moving the other two; (d) all of the above; or (e) something else? 2. "I don't worry about the bass player, because even though I listen to him and his pulse, he still needs to get cues from the pianist.": in saxworld, I have to admit that we are the worst offenders (hopefully not yours truly, but, sadly, the majority of us, at least the ones not at the top of the food chain) don't actually play Jazz and instead just run the same chordal and scalar patterns they've been taught - and they all pretty much play the same thing. They don't listen to the rhythm section; they just show off their fine technique. So, in the war / interplay between piano / bass / drums, who runs the show as to the three? 3. Good to know I can use some open 7ths and 10ths with a bass player without him / her throwing a bow or something at me!
Nice. I'll just add 3 little points. 1.Miles Davis stole - not wrote - this tune. 2. 12-bar is of course a common blues form, and indeed this tune can be regarded as a modified blues. 3. The first chord is often played as a major-minor, with a concomitant scale that includes the major seventh, so not Dorian. But it's a matter of choice; Dorian can work too.
Thanks for the comment and for sharing your insights.
Pianiste was your job ? Very good video
Playing piano in various groups and settings, writing music and arranging, and teaching. I also was a banker, and a holistic health practitioner at one time.
@@KentHewittpiano88 oh on thanks daddy Groovy chick!
great
Thanks!
Where can i find the play along backing track?
Write to me.
You're definitely hip, Kent.😉
You're a groovy chick!
I’ve been trying to learn to improvise for a while all I can do is 12 bar blues and I still get lost. I have no idea how to keep time and know what chord I am.
Thanks for the help GD. Please check my playlists on using the metronome, to help with timing. ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists?disable_polymer=1
I should be thanking you, you’re a great teacher
I wonder what the secret signal behind the C7#5 is?
C whole tone scale
Please see my video on the super locrian scale.
Wow! Another awesome video. The one part that I'm struggling to understand is how you chose the scales (modes)? Is it just personal preference (what sounds good) or is there a science to it? Thanks for sharing!
Part 2 talks more about this. What sounds good to you is always the final factor. However, good theory and intellect play a strong part. You need to learn all your scales and modes and how they fit specific chords in a progression. Go to playlists on scales and improvisation: ua-cam.com/channels/dmjw5sm9Kn83TB_rA_QBCw.htmlplaylists?disable_polymer=1
hey kent, the sound seems really poor in this vid for some reason. was just wondering if you knew why? all the best. thanks again for a great vid. ps its really great to be able to see you at the piano!
The part with the backing track or just in general? It could be the sound of the backing track...too loud? The sound is recorded only on the camera on the overhead view...I'm not using any external mics. I tried using external mics and everything got too complicated...sorry. It's hard enough syncing up two cameras.
@@KentHewittpiano88 no just in the introduction.. Sounds a bit like its on an old tape. But I wrote that comment as I was watching and it only lasts a minute so don't worry about it. Hope we get to see more of these great angles. Thanks again for the extra effort! I went and learned this song already, it's great! Kent.. Two years ago when I first started watching your vids it was so over my head... But now I can follow you on simpler tunes!
Dizzy Gillespie: "It's taken me my whole life to learn what NOT to play." Miles Davis: "Sometimes, you gotta take the bus!"
You are right, pal, and in the past I've taken my keyboard on the bus to a gig.
@@KentHewittpiano88 Ah, but you haven't lived until you've taken a keyboard, an amp, AND a tenor saxophone (plus busking goodies) on the NYC subway and climbed those stairs (because there is usually no elevator). Actually, my cart isn't too bad. I can lift it up the stairs on my inner elbow. Horn on the shoulder, keyboard in a Gator keyboard backpack case. The worst part is getting on the bus in NJ to get to NYC.
I like you Kent..
Takes one to like one. Thanks!
@@KentHewittpiano88 work for all fleurette africaine the duke Ellington please
I don't believe you given away the stuff for free
I got to get me a printer that's a book right there.
Do you me a favor go look at this video and
you'll knock off your version of this
UA-cam it please (THE MODES: a Basic Introduction with a Crazy Continuation).
You are too good to use background track. Please play solo piano.
Thanks for the comment. 90% of my videos are solo (if you've watched some). Backing tracks are useful for freeing you up to play in ways that are not possible when playing solo.