OK. Watched this twice already (in 2 days). It's the whole enchilada - everything! A year's worth of stuff to practice, clearly presented with all the nuances described, reasons given for everything. You leave it feeling you've just heard the lecture on the secret of the universe, then ya forget it 5 minutes later, and sit there realizing how much you still have to learn to get there, but ... wow ... to get the overview and stay up there for an hour is a thrill! THANKS!
What was especially helpful was your playing the diffference in voicings and showing, for one example, why we need to be in the magic range for essential tones, just for the sound quality. Of course, it's DUH and we all know that it sounds muddy way down there... but all your examples make things crystal clear. We get the sound image in mind and don't have to think about the reasons all the time - just recognize the sound quality. GREAT teaching! @@JeremySiskind
0:46 What are Voicings? 1:57 "Rules" 5:40 Type A and B 8:34 Shell Voicings 12:25 Bass Shells 18:03 Thick Bass Shells 22:56 Color Tones (Extensions) 32:49 One handed A/B Voicings 35:59 Shout Voicings 37:48 Shearing Voicings 43:35 Drop 2 Voicings 45:51 Drop 3 Voicings 47:34 Modal Voicings 50:08 So What Voicings 52:57 Quartal Voicings 54:43 Pentatonic Voicings 56:28 Review
Amazing! Not as amazing as your meeting Aimee Nolte - 😜 - but what a gift you have given us all. You are phenomenally gifted as artist AND educator. THANK YOU!
@@JeremySiskind Maestro - I watch you all. For hours. Jonny, Aimee, Open Studio, Fuchs, Mangold, Winston, Kellman (studied w), Hans, HD piano, Jazz Skills, David Bennet - et al x10. You sir are as good as it gets. And an utterly charming persona to boot. I am an avid fan and grateful student. 🙏🏻🙏🏻
You are incredible! Today I'm sad because of a bad recovery of a surgery... But your video is what I needed when I was teen (now I'm 49). In a few weeks I will rehearse with a professional jazz quartet for the first time in my life and your video is the best that I've found for the jazz chord voicings basics. When I was teen a friend told me a lot of the things you've said (guide notes, A/B voicings, good sounding note range...) but nobody told it to me with the kindness and pacience like you. And the "Powerpoint-like" slides are great! What a job you've made, I appreciate it very much. Also, you are kind and funny, I've felt like I was with a good friend. And you piano level is outstanding. I bought the Phil DeGreg Jazz Keyboard Harmony book, which people say is very useful, but I think I will buy your books as well. Now I'm going to check them out! Greetings from Barcelona, Spain.
Wow…outstanding. Sure wish I had known about this fantastic video a few years ago!!! What a delight to listen to!!! (I feel guilty for not having had to pay for it! Would easily have been worth a $50 “entrance fee” !!!) I, too, will be watching it again….This video empowers the humble student of jazz to conquer the chaos of jazz voicings with clear classification, allowing clear focus while providing clear context (ie. replacing chaos with creativity). Thanks, Jeremy!
I cannot thank enough for this video! I am just beginner jazz player and playing with combos and solo and this is the most helpful video I found online. I have also your books and they are absolutely amazing 🤗
Great job Jezza, as always. I only recently discovered you. I'm loving your content and organised delivery of it, its filled in a few missing pieces for me for sure. So much knowledge, thanks a lot for your generous time and sharing your gifts.
Firstly, I *love* the nickname Jezza (unironically). I'd never heard it until I performed with British vocalist Claire Martin and I thought she was joking, but apparently it's a real thing! Thanks for the nice comment and good luck with your voicings!
Thank you so much for this, Jeremy. I love all your videos but, for me, this one in particular, offered a comprehensive explanation that just doesn't exist anywhere else. I found it especially helpful that you played voicings that don't work. That was a big one for me, since in experimenting with voicings, I would find things that were either too high or too low but wasn't sure if it was my piano or my ears that were off. The "magic range" idea is genius and so clarifying.
Muchas gracias por verme en España. Espero que viajar allí mas a menudo y estoy aprendiendo español. Y tengo un nuevo libro que está disponible en español, se llama "Fundamentos del Jazz Piano"!
Your videos are underrate but always appreciated by us , this was quick, clear structured and precise, something I've been struggling to get from any other teacher/tutorial! ❤ I will buy you a big coffee on the 21st of August note it down ;)
Hey Jeremy, thanks so much for this. I would love a video on a deeper dive on what we can do within the Type A/B voicings beyond the 2 or 3 color tones on the RH.
Absolutely amazing video. You are an amazing teacher and i'm just happy for all the young, aspiring pianist that has this ressourcer to learn from! Thanks.
Great work, you are an excellent teacher and I certainly intend to buy your books :) I have a question about how to study chord voicings, in the sense of how to ingrain/organize them in our minds (starting just with the shells). I'm studying the book Metaphors for the Musician and the first solo piano voicings that are presented are what you call bass shells, but with 2 notes in the left hand and 1 in the right hand. After a lot of time, I have all m7, 7 and M7 in my hands and I can play 2-5-1 sequences. However that skill doesn't translate automatically into playing just the shells in one hand, either left or right, which would be my second step (although it translates into playing Bud Powell voicings). That happens because there is a substantial component of muscle and visual memory that is lost or at least needs adaptation. When studying these shell voicings, do you advise putting a lot of effort into learning the names of the 2 notes and seeing them as individual entities? Do you advise the use of some visual aid, like imagine there is a "hidden" chord in the background while selecting notes among the invisible stacked thirds? Or should we treat each new chord like a new word, not fully connected to others, and embrace the muscle memory component? Do you have any tips to practice the harmony vocabulary more efficiently (do you have a video about that?)? Thanks!
That’s a very well-stated question and I’m not sure I have a brilliant answer. I think your end goal is absolute muscle memory -playing without thinking. On the road there, you have to figure out “coping mechanisms,” tricks that work for you, to make sure that you’re playing the right notes and therefore reinforcing the good habits. Honestly, I don’t think it matters too much what you use at that point as long as it works, it keeps you inspired (not overly overly frustrated), and continues reinforcing good habits until you achieve that muscle memory. Wishing you lots of luck on your journey!
Hey Jeremy, I love this video! Thank you for taking the time to create it for us. I have a question: what is your approach behind the left hand in your shout chorus voicings? It looks like you're doing a combination of 4ths, A+B and diminished stuff. Is that right? How did you go about working that out?
Looking at this you can quickly see how playing melody with the right hand with left hand chords in the "Magic Zone" puts your melodies in the flute range. This is why I prefer stacked keyboard or the organ. You can play right hand down as low as you can reach without bumping into your left hand. Hammond organists do this all the time. Piano is (to say the least) an outdated instrument.
That's true! Pianists do have to get creative about their voicings as they play low melodies. Many move into "bass shell" territory and play the roots and one other note. Others omit chords entirely. Some even play chords *above* the melody line. You're right - one way to solve the problem is to play organ. 😉
To answer your questions - Doubling notes is generally discouraged! In other generes, doubling notes is much more acceptable...especially since most other genres use a lot of triads. If you want to make a chord bigger than three notes, you basically have to double.
I like very much the sound of a C triad over B bass (C/B). As I feel it, in this case the b9 interval doesn't sound bad, maybe because the bass B isn't adjacent to C. What do you think? Do you use this voicing? Thanks once more for your wonderful videos!
I like it too. Often times it’s used as a passing chord or in the upper register, but it can have a very “bittersweet” sound to it. A great example is John Taylor’s comping behind Norma Winston’s on “Alice in Wonderland.” Check it out!
What I have discovered with the magic range is that it changes a bit depending on the instrument. I also found I can't do normal piano voicing that low on organ either.
Another great video good sir! My wife's getting so sick of hearing your voice haha keep it up...By any chance are you performing in the D.C area anytime??
Hi Jeremy great video. A quick question almost all of it was review for me (in theory) however I really need systematic way of mastering these voicings to apply them to tunes. Did you say that was covered in book 1 and 2, or 2 and 3 of your Jazz Piano Fundementals
wow Jeremy! How long did it take you to absorb all that knowledge and then play with such fluidity? I wish I had studied jazz piano years ago, but I'm stuck reading music. Thanks!
You’re right! To me, those fall under the category of the Type A/B voicings. Upper structures are one of the things you can stack on top of the 3rds/7ths, but - you’re right - they are kind of a category all their own.
OK. Watched this twice already (in 2 days). It's the whole enchilada - everything! A year's worth of stuff to practice, clearly presented with all the nuances described, reasons given for everything. You leave it feeling you've just heard the lecture on the secret of the universe, then ya forget it 5 minutes later, and sit there realizing how much you still have to learn to get there, but ... wow ... to get the overview and stay up there for an hour is a thrill! THANKS!
my pleasure, Jane! Thanks for being such a faithful friend of this UA-cam channel!
What was especially helpful was your playing the diffference in voicings and showing, for one example, why we need to be in the magic range for essential tones, just for the sound quality. Of course, it's DUH and we all know that it sounds muddy way down there... but all your examples make things crystal clear. We get the sound image in mind and don't have to think about the reasons all the time - just recognize the sound quality. GREAT teaching! @@JeremySiskind
Great! Very concise. Good reference video.
0:46 What are Voicings?
1:57 "Rules"
5:40 Type A and B
8:34 Shell Voicings
12:25 Bass Shells
18:03 Thick Bass Shells
22:56 Color Tones (Extensions)
32:49 One handed A/B Voicings
35:59 Shout Voicings
37:48 Shearing Voicings
43:35 Drop 2 Voicings
45:51 Drop 3 Voicings
47:34 Modal Voicings
50:08 So What Voicings
52:57 Quartal Voicings
54:43 Pentatonic Voicings
56:28 Review
Thanks for doing this work! Would it be okay if I added this to the video description?
@@JeremySiskind Yes
Yes, the magic range... with the 3rd and 7th. Thank you.
I hope that's a useful concept to consider!
@@JeremySiskind Definitely!!! Wrote it in my note book...
Amazing! Not as amazing as your meeting Aimee Nolte - 😜 - but what a gift you have given us all. You are phenomenally gifted as artist AND educator. THANK YOU!
Aimee's the best out there. It was an honor to play and hang with her!
@@JeremySiskind Maestro - I watch you all. For hours. Jonny, Aimee, Open Studio, Fuchs, Mangold, Winston, Kellman (studied w), Hans, HD piano, Jazz Skills, David Bennet - et al x10. You sir are as good as it gets. And an utterly charming persona to boot. I am an avid fan and grateful student. 🙏🏻🙏🏻
@@JeremySiskind you are just being nice.
this is exactly what I NEEDED!!
Excellent! I'm happy! I hope it helped to open Pandora's Box!
You're a world class teacher. Thank you. 🙏
I'm honored, jared! Thanks so much for saying that!
You are incredible! Today I'm sad because of a bad recovery of a surgery... But your video is what I needed when I was teen (now I'm 49). In a few weeks I will rehearse with a professional jazz quartet for the first time in my life and your video is the best that I've found for the jazz chord voicings basics. When I was teen a friend told me a lot of the things you've said (guide notes, A/B voicings, good sounding note range...) but nobody told it to me with the kindness and pacience like you. And the "Powerpoint-like" slides are great! What a job you've made, I appreciate it very much. Also, you are kind and funny, I've felt like I was with a good friend. And you piano level is outstanding. I bought the Phil DeGreg Jazz Keyboard Harmony book, which people say is very useful, but I think I will buy your books as well. Now I'm going to check them out! Greetings from Barcelona, Spain.
This is so nice. Thanks for the wonderful note and I'm wishing you the very best of luck with your rehearsal and recovery!
Great teacher always...genius
Thanks for checking out the video, mai!
This video is already a classic ！bravo。你是太厉害。
Aw thank you! Enjoy!
One of the best no-nonsense jazz videos I’ve ever seen! Thank you so much
Yay! I'm so happy to hear that! THank you!
grateful for you sharing the valuable presentation with us!
My pleasure, Newton! I hope you enjoyed it!
This is amazing! I’m just getting started on jazz piano and I feel like I found the cheat code. Thank you!
Wow…outstanding. Sure wish I had known about this fantastic video a few years ago!!! What a delight to listen to!!! (I feel guilty for not having had to pay for it! Would easily have been worth a $50 “entrance fee” !!!) I, too, will be watching it again….This video empowers the humble student of jazz to conquer the chaos of jazz voicings with clear classification, allowing clear focus while providing clear context (ie. replacing chaos with creativity). Thanks, Jeremy!
That's so nice, Sue! I'm so glad you liked the video and feel like you learned a lot.
I cannot thank enough for this video! I am just beginner jazz player and playing with combos and solo and this is the most helpful video I found online. I have also your books and they are absolutely amazing 🤗
My "go. to" video to start the day. THANKS - very generous of you to share your presentation with us here.
I'm so glad you like it, Jane! It's a fun challenge to make conference presentations that are clear and concise.
I can always rely and enjoy the Genius of Jeremy Siskind..! Keep up the good work..!!
Well that's very kind, Rochelle! I'm honored!
Great job Jezza, as always. I only recently discovered you. I'm loving your content and organised delivery of it, its filled in a few missing pieces for me for sure. So much knowledge, thanks a lot for your generous time and sharing your gifts.
Firstly, I *love* the nickname Jezza (unironically). I'd never heard it until I performed with British vocalist Claire Martin and I thought she was joking, but apparently it's a real thing! Thanks for the nice comment and good luck with your voicings!
Ive watched a lot of videos on this topic and this might be the most thorough and practical. Thanks!
Thanks, Jeremy. Hope the presentation goes/went well!
Thanks much, Chapin! It was really fun!
A great tutorial on voicings useful for everybody.Thank you Jeremy.
My pleasure! Thanks for checking it out and commenting!
Thanks for taking the time to make this video. To get all this info for free is amazing 👏 people study a long time to learn all this ❤
My pleasure - happy practicing!
Thank you so much for this, Jeremy. I love all your videos but, for me, this one in particular, offered a comprehensive explanation that just doesn't exist anywhere else. I found it especially helpful that you played voicings that don't work. That was a big one for me, since in experimenting with voicings, I would find things that were either too high or too low but wasn't sure if it was my piano or my ears that were off. The "magic range" idea is genius and so clarifying.
I'm so happy! Thank you for watching and for the nice comment!
Amazing stuff ! So valuable. Will try to dive in. My ears are pleased with the sound of these voicings. Thanks so much.
Awesome! My pleasure - enjoy!
As usual an intelligent, clear and practical presentation. I have your books. 👍
Thanks much, Mark! Glad you enjoyed it. Hopefully it helped you to fit some things together perfectly in your mind.
what a GREAT video. So helpful and well taught. Learned so much!
Yay! That makes me happy. Enjoy experimenting with these voicings!
Meilleure vidéo sur les voicing sur UA-cam !!! Merci
Merci beaucoup!
Muy bueno Jeremy! Greetings from Spain
Muchas gracias por verme en España. Espero que viajar allí mas a menudo y estoy aprendiendo español. Y tengo un nuevo libro que está disponible en español, se llama "Fundamentos del Jazz Piano"!
Wow! So Helpfull for me as a classical composer! Thankks a lot!
Fantastic! I'm happy to hear that. Happy composing!
Your videos have been so helpful for me! Amazing content🙏🙏
I’m really happy to hear that. Thanks for watching!
Thank you Jeremy especially useful because I was looking for the concept behind left hand quartal voicings for comping pentatonic soloing.
Thanks a lot, Jeremy, I've been looking for such an explanation for months. looks like I've got a looooong way to go but you gave me a start
Your videos are underrate but always appreciated by us , this was quick, clear structured and precise, something I've been struggling to get from any other teacher/tutorial! ❤
I will buy you a big coffee on the 21st of August note it down ;)
Awesome! Wow, I'm gonna be waiting for the 21st of August with bated breath...regardless, thanks for checking out the videos.
Hey Jeremy, thanks so much for this. I would love a video on a deeper dive on what we can do within the Type A/B voicings beyond the 2 or 3 color tones on the RH.
Wow, that's like 4 years of college classes in one hour! Amazing lesson. Thanks 🙏❤
Haha, yep, it goes by fast, but hopefully it helps you to understand!
This is absolutely superb, i learned so so much in such a short space of time. Thank you!
Awesome! I'm so glad it was helpful for you!
Very clear and helpful. Thanks a lot!
Great! I'm proud of this one - I think it gets a lot done in under an hour. I hope you enjoy experimenting with these concepts!
Absolutely amazing video. You are an amazing teacher and i'm just happy for all the young, aspiring pianist that has this ressourcer to learn from! Thanks.
Thank you for this golden lesson!!!
My pleasure! I’m glad you like it!
Thank you! Superb material !
My pleasure, Fred. I hope it helps you!
Thank you so very much for this extra useful lesson with great illustrations and explanations ❤ great addition to the book
Thank you so much Sir. Very helpful.. I'm your new follower about playing piano. Done
Awesome! Thank you for watching and enjoy!
Amazing, thank you 🙏
Fantastico 🎉🎉🎉🎉🎉 THANK YOU SO MUCH SIR 💖 😂😂😂😂😂
Awesome stuff 👏 THANK YOU SO MUCH SIR 🙏 🎉
My pleasure, Jorge, thank you for watching!
Thank you so much sir ❤️
My pleasure - glad you dug it!
Excellent… thank you !
Thank you.
My pleasure, William! Enjoy practicing these voicings!
This's really hot stuff.
Definitive!
Aw that’s sweet! Thanks for watching!
Thank you so much for the wealth of information.. You're a great educator. Is there a pdf format of your books for sale?
My pleasure! Absolutely! PDFs are available for purchase at www.jeremysiskind.com/shop/
Great work, you are an excellent teacher and I certainly intend to buy your books :) I have a question about how to study chord voicings, in the sense of how to ingrain/organize them in our minds (starting just with the shells).
I'm studying the book Metaphors for the Musician and the first solo piano voicings that are presented are what you call bass shells, but with 2 notes in the left hand and 1 in the right hand. After a lot of time, I have all m7, 7 and M7 in my hands and I can play 2-5-1 sequences. However that skill doesn't translate automatically into playing just the shells in one hand, either left or right, which would be my second step (although it translates into playing Bud Powell voicings). That happens because there is a substantial component of muscle and visual memory that is lost or at least needs adaptation. When studying these shell voicings, do you advise putting a lot of effort into learning the names of the 2 notes and seeing them as individual entities? Do you advise the use of some visual aid, like imagine there is a "hidden" chord in the background while selecting notes among the invisible stacked thirds? Or should we treat each new chord like a new word, not fully connected to others, and embrace the muscle memory component? Do you have any tips to practice the harmony vocabulary more efficiently (do you have a video about that?)? Thanks!
That’s a very well-stated question and I’m not sure I have a brilliant answer. I think your end goal is absolute muscle memory -playing without thinking. On the road there, you have to figure out “coping mechanisms,” tricks that work for you, to make sure that you’re playing the right notes and therefore reinforcing the good habits. Honestly, I don’t think it matters too much what you use at that point as long as it works, it keeps you inspired (not overly overly frustrated), and continues reinforcing good habits until you achieve that muscle memory. Wishing you lots of luck on your journey!
@@JeremySiskind Thanks for the kind answer, I'll try to figure out what works better for me before moving on to the next steps on my journey :)
Hey Jeremy, I love this video! Thank you for taking the time to create it for us. I have a question: what is your approach behind the left hand in your shout chorus voicings? It looks like you're doing a combination of 4ths, A+B and diminished stuff. Is that right? How did you go about working that out?
In the left hand for shout chorus voicings, I'm using 4-note Type A/B voicings.
Looking at this you can quickly see how playing melody with the right hand with left hand chords in the "Magic Zone" puts your melodies in the flute range. This is why I prefer stacked keyboard or the organ. You can play right hand down as low as you can reach without bumping into your left hand. Hammond organists do this all the time. Piano is (to say the least) an outdated instrument.
That's true! Pianists do have to get creative about their voicings as they play low melodies. Many move into "bass shell" territory and play the roots and one other note. Others omit chords entirely. Some even play chords *above* the melody line. You're right - one way to solve the problem is to play organ. 😉
To answer your questions - Doubling notes is generally discouraged! In other generes, doubling notes is much more acceptable...especially since most other genres use a lot of triads. If you want to make a chord bigger than three notes, you basically have to double.
Thank you
You’re very welcome, Ben! I hope this explained a few things!
I like very much the sound of a C triad over B bass (C/B). As I feel it, in this case the b9 interval doesn't sound bad, maybe because the bass B isn't adjacent to C. What do you think? Do you use this voicing? Thanks once more for your wonderful videos!
I like it too. Often times it’s used as a passing chord or in the upper register, but it can have a very “bittersweet” sound to it. A great example is John Taylor’s comping behind Norma Winston’s on “Alice in Wonderland.” Check it out!
What I have discovered with the magic range is that it changes a bit depending on the instrument. I also found I can't do normal piano voicing that low on organ either.
You’re right - the acoustical properties can be different with different timbres. Good insight!
Another great video good sir! My wife's getting so sick of hearing your voice haha keep it up...By any chance are you performing in the D.C area anytime??
Haha apologies to your wife! Nothing coming up in DC soon. I’ll keep you informed if anything comes up!
Hi Jeremy great video. A quick question almost all of it was review for me (in theory) however I really need systematic way of mastering these voicings to apply them to tunes. Did you say that was covered in book 1 and 2, or 2 and 3 of your Jazz Piano Fundementals
wow Jeremy! How long did it take you to absorb all that knowledge and then play with such fluidity? I wish I had studied jazz piano years ago, but I'm stuck reading music. Thanks!
It's definitely a years-long process, Amber! And it's never quite over - I'm still learning!
learning never seems to be over!@@JeremySiskind
can you use these voicing for other types of music?
Yes, although using things like sevenths upper extremity extensions will give the chords a jazzy feel.
When you speak about color tones that "work", is this due to equal temperament?
Watched in double speed. Only 30 min!!
#efficiency!!!
You're playing an octave too high!
Jazz voicing more ....😂😂😂😂 5 hour 😅😅😅
Oh no, I think 1 hour is too much 😂 Now you have to practice for 5 hours!
My man didn't mention upper structures 😢
You’re right! To me, those fall under the category of the Type A/B voicings. Upper structures are one of the things you can stack on top of the 3rds/7ths, but - you’re right - they are kind of a category all their own.