Thank you, Jeremy! When you were demonstrating scales, you were using some basic runs/patters that were not complicated bebop lines, but not just straight scales. Could you do a video on some simple patterns for practicing scales that incorporate some of that intervalic stuff?
Weirdo! Hi Jeremy. Great video. I played Stella on vibes with Ron Eschete and Luther last night on a gig. Yes, its a weird tune and most people (like me) learn it by rote without really understanding the motion of the harmony. This sure helps a lot. I got a lot out or your classes and am still working on the material (for life!) Happy Holidays!
Great lesson and playing at the end. I usually think of the first two measures as Bbdim7 with the maj7 in the melody and use the whole/half diminished scale. It's almost like b3dim7 --> iim7
Yeah! That's one approach. Some people just play that chord for the first two measures. Most play the ii-V and that scale will mainly match but flattens out the difference between EØ7 and A7(b9).
20 minutes so well spent this morning. Learned lots, Jeremy, then had the pleasure of sitting back and listening to you play. Thank you!! ......... weirdo.
Wow! I didn't know what I didn't know until I knew it. What a great video! Jeremy is the most amazing talent ever. I have never heard a better version of Stella. Best channel on YT! Thank you soooo much!!!! Weirdo!
Such a valuable lesson! Especially the use of the Lydian b7 scale over the backdoor V - I is such a nice concept - Adding the #4 to the V-Chord, the maj3 of the I-Chord and blending them together this way. Great video as always!
Hey Jeremy! Where do you think this lesson would fall in your courses offered at Fullerton? I like to think I'd be ready for the intermediate class, but this lesson is definitely pushing my limits of understanding
Have to admit i really prefer thinking in terms of "which melodic minor can i use here?" I've been taking baby steps into a similar take on Hot House (btw is that tune a contrafact?) and of course it doesn't work for every chord, but i like the exotic flavor it brings - does that make me a weirdo?
Just watched two JS videos dropped on the same morning. Seems like I should get out of bed and start practicing something instead of just watching videos like some sort of weirdo.
I like the C harmonic minor on the G#5. But wouldn’t you agree that you can just add the b-flat to this scale? I don’t like the big jump to the b. Bud Powell does it on the G7 at the coda of Celia, and probably other tunes as well.
this is a favorite trick if mine! Note: over G7b9 (for example), which is the dominant in key of Cminor: * C harm minor with added b7 (Bb), * Bb mixolydian with added b9 (B) (Bb7 being backdoor dominant of Cmin) * Eb maj bebop scale (added b13: B) (Eb being relative major of Cminor) all have the same notes!
Backdoor 2-5-1. Normally a 2-5-1 in Bb major is Cm7-F7-Bb. The progression Ebm7-Ab7-Bb is called "Backdoor 2-5-1" - it leads to Db but surprisingly goes to Bb instead.
WONDERFUL VIDEO!!! Regarding bar 14: What about using {Bø7 Bbdim} for bar 14? Representing an expression of {G7 C7-Bbo} {/ / / / } To me this is way more elegant than {Eø7 A7} to get to Aø7 in bar 15. This also creates a nice harmonic symmetry with the changes that start 5 bars early {Bbma7} to {Eø A7} bars 9-10. So bars 13-14 do the same move, {Fma7} to {Bø7 Bbdim} ... See what you think!
@@richardrodseth Same basic idea as mine... Sort of a variation of G7 for 2 beats, C7 for 1 beat, then C7/Bb for 1 beat. or the Bbdim for beats 3 and 4.... I prefer all those variations for the melody than the Eø7 A7... Hey, but that's just me. ;-)
Not to mention that even the 1st bar was originally Bbdimma7 (so the bebop substitute is the { Eø7 A7b9} thing), and the bar (14) that we're discussing alludes to my take on it... sort of. Here's the source. ua-cam.com/video/7DInmoJ5JDE/v-deo.html
Thank you, Jeremy! When you were demonstrating scales, you were using some basic runs/patters that were not complicated bebop lines, but not just straight scales. Could you do a video on some simple patterns for practicing scales that incorporate some of that intervalic stuff?
The performance at the end! ❤🔥
Thank you very much Jeremy. Does it possible analyze one of Wayne Shorter's tune for the sake of deep dive in to modal harmony. Best regatds
I'll keep that suggestion in mind!
The solo. Holy smoke
Thanks much, Peter! Happy practicing!
Weirdo! Hi Jeremy. Great video. I played Stella on vibes with Ron Eschete and Luther last night on a gig. Yes, its a weird tune and most people (like me) learn it by rote without really understanding the motion of the harmony. This sure helps a lot. I got a lot out or your classes and am still working on the material (for life!) Happy Holidays!
Great lesson and playing at the end. I usually think of the first two measures as Bbdim7 with the maj7 in the melody and use the whole/half diminished scale. It's almost like b3dim7 --> iim7
Yeah! That's one approach. Some people just play that chord for the first two measures. Most play the ii-V and that scale will mainly match but flattens out the difference between EØ7 and A7(b9).
I like when you show off at the end.
I learn a lot from watching your hands.
Nothing weirdo at all.
Awesome, thank you, Bob!
Weirdo in such a great and funny way - beautiful playing Jeremy! 🎹
Babe wake up new Jeremy Siskind video just dropped !!!!’
Hahaha and I accidentally put out two today, so double the excitement!
20 minutes so well spent this morning. Learned lots, Jeremy, then had the pleasure of sitting back and listening to you play. Thank you!! ......... weirdo.
Wow! I didn't know what I didn't know until I knew it. What a great video! Jeremy is the most amazing talent ever. I have never heard a better version of Stella. Best channel on YT! Thank you soooo much!!!! Weirdo!
I'm honored. Thanks so much, Henry!
Such a valuable lesson! Especially the use of the Lydian b7 scale over the backdoor V - I is such a nice concept - Adding the #4 to the V-Chord, the maj3 of the I-Chord and blending them together this way. Great video as always!
Definitely, that major 3rd of the overall key is crucial!
This is just amazing stuff for a beginner like me. I love the tune but it’s so challenging.
Certainly a piece that has a weird, do. Maybe even a weird re and mi. 😌
I get it! 😂😂😂😂😂
a beautiful tune not played that often I love it
Brilliant teaching and just weirdo enough, as always.
Great solo😊
Weirdo, 😂. I have been working on Stella recently, this is gold! thank you Jeremy 🙌
10 sec into the video and i'm already loving it
Yay!!! I hope you like the rest!
Hey Jeremy! Where do you think this lesson would fall in your courses offered at Fullerton? I like to think I'd be ready for the intermediate class, but this lesson is definitely pushing my limits of understanding
Good question - would definitely be in the higher level class. We don’t get into minor key harmony in the first class
Have to admit i really prefer thinking in terms of "which melodic minor can i use here?" I've been taking baby steps into a similar take on Hot House (btw is that tune a contrafact?) and of course it doesn't work for every chord, but i like the exotic flavor it brings - does that make me a weirdo?
Just watched two JS videos dropped on the same morning. Seems like I should get out of bed and start practicing something instead of just watching videos like some sort of weirdo.
I realized that this morning too. It means I messed up.🤪
Stella!
Not at all, great video, great pianist.@JeremySiskind
The best ❤
Awesome! Thanks for watching, Samuel!
I like the C harmonic minor on the G#5. But wouldn’t you agree that you can just add the b-flat to this scale? I don’t like the big jump to the b. Bud Powell does it on the G7 at the coda of Celia, and probably other tunes as well.
this is a favorite trick if mine!
Note: over G7b9 (for example), which is the dominant in key of Cminor:
* C harm minor with added b7 (Bb),
* Bb mixolydian with added b9 (B) (Bb7 being backdoor dominant of Cmin)
* Eb maj bebop scale (added b13: B) (Eb being relative major of Cminor)
all have the same notes!
@@gmitter-sl3qq That's a great way to see it, thanks!
How about the G altered scale on the 2 bars of G7#5?
my weirdo question for G7#5: what about C melodic minor instead of C harm minor?
Nice but now i have a headache! What is this back door?
Backdoor 2-5-1. Normally a 2-5-1 in Bb major is Cm7-F7-Bb. The progression Ebm7-Ab7-Bb is called "Backdoor 2-5-1" - it leads to Db but surprisingly goes to Bb instead.
All jazzers about , likely, weirdos. Great preso !
I really like this video, but the audio is really poor; can someone tell me if it's just me?
I like this video, but the audio is very poor. Can some tel me if it's just me?
Hi, weirdo from the back! 😂
It was you all along!!!!
We are do …
I love me some weirdo Jeremy Jarrett.
Wait … “Stella” is “weird”? More like sublime, bruh
Those usually go together in my world!
WONDERFUL VIDEO!!!
Regarding bar 14:
What about using {Bø7 Bbdim} for bar 14?
Representing an expression of
{G7 C7-Bbo}
{/ / / / }
To me this is way more elegant than
{Eø7 A7}
to get to Aø7 in bar 15.
This also creates a nice harmonic symmetry with the changes that start 5 bars early {Bbma7} to {Eø A7} bars 9-10.
So bars 13-14 do the same move, {Fma7} to {Bø7 Bbdim} ...
See what you think!
Interesting. I have G/B to Bbmaj7 to Am7b5 pencilled in. Not sure who gave me that.
@@richardrodseth
Same basic idea as mine...
Sort of a variation of
G7 for 2 beats, C7 for 1 beat, then C7/Bb for 1 beat. or the Bbdim for beats 3 and 4....
I prefer all those variations for the melody than the Eø7 A7...
Hey, but that's just me. ;-)
Not to mention that even the 1st bar was originally Bbdimma7 (so the bebop substitute is the { Eø7 A7b9} thing),
and the bar (14) that we're discussing alludes to my take on it... sort of.
Here's the source.
ua-cam.com/video/7DInmoJ5JDE/v-deo.html
@@richardrodseth
I believe all of the variations we’ve discussed are much better root movement than
{Em7b5 A7}{Am7b5 D7}