I had a guitar teacher who claimed that all that “colour” from jazz chords came from impressionist composers, like Ravel and Erik Satie. In fact he saw a lot of similar things on Ravel’s Piano Concerto and , say, Chick Corea’s lines!
Love this piece! He wrote it as a sight reading exercise for the conservatory students I believe. I actually orchestrated this. Would love to share it with you if you’d like to see the score
Your modulatory fun around 3 minutes in reminds me heavily of Ravel's Sonata for Violin and Cello, the opening figure, which wanders around major and minor tonality. Excellent ear, both you and Maurice!
The funny thing is that he says sorry when he makes these "mistakes". But these mistakes sound like they break the monotonic repeating of the motif. I really like these "mistakes". I wonder if any jazz musician makes these kind of "mistakes" that make their music sound more interesting. And finally he speaks on the end about mistakes, after I wrote my comment... hahah...!
In my opinion. I think C triad to B+ (G+) augmented triad (over Ami or C or any root in C Major for that matter) is a “triad pair”. Try improvising or moving them melodically or harmonically through their inversions like we can do with the Ab and Gb triad pair over a C7 (we call them upper structure triads in that case). The B+ augmented triad acts as a neighbor chord, a little like the diminished passing chord did for Barry Harris in his scale, but of course the B augmented triad is not sounding as a dominant to Ami but more as a chromatic approach chord to the C triad (over A-). It does sound as G+ (V) to C Major in its own way, the relative major of A -. I, Harry Likas, was the Technical Editor of Mark Levine’s “The Jazz Theory”.
The notes B, D#, G make up an augmented chord where any of those notes could be the root of the chord. I wonder which note he's hearing as the root in this context. 🤔
I had a guitar teacher who claimed that all that “colour” from jazz chords came from impressionist composers, like Ravel and Erik Satie. In fact he saw a lot of similar things on Ravel’s Piano Concerto and , say, Chick Corea’s lines!
Ravel is a genius!!! I think the piece Le Gibet from Gaspard de la Nuit is also an excellent piece to use harmonies for jazz standards.
Ondine (1st mvt) = Coltrane changes, 52 years before Coltrane 😅
Love this piece! He wrote it as a sight reading exercise for the conservatory students I believe. I actually orchestrated this. Would love to share it with you if you’d like to see the score
Thank you so much Pablo for your work for the music community, your approach in teaching and playing is so clear and ispiring. This is gold 🙏🏻
Thank you Luca
By the way: All notes of the progression starting at 2:18 are contained in Messiaens Third Mode - Hubert Nuss would enjoy it ;-)
Your modulatory fun around 3 minutes in reminds me heavily of Ravel's Sonata for Violin and Cello, the opening figure, which wanders around major and minor tonality. Excellent ear, both you and Maurice!
Fantastic - many thanks
This is incredible. I hope I can see many more!
The funny thing is that he says sorry when he makes these "mistakes". But these mistakes sound like they break the monotonic repeating of the motif. I really like these "mistakes". I wonder if any jazz musician makes these kind of "mistakes" that make their music sound more interesting.
And finally he speaks on the end about mistakes, after I wrote my comment... hahah...!
I think it was Miles Davis that said, 'there are no mistakes in Jazz'!
If it’s a mistake play it again ! 😉
brilliant!! 🎹🎶🤯
beautiful breakdown!
Thank you!
In my opinion. I think C triad to B+ (G+) augmented triad (over Ami or C or any root in C Major for that matter) is a “triad pair”. Try improvising or moving them melodically or harmonically through their inversions like we can do with the Ab and Gb triad pair over a C7 (we call them upper structure triads in that case). The B+ augmented triad acts as a neighbor chord, a little like the diminished passing chord did for Barry Harris in his scale, but of course the B augmented triad is not sounding as a dominant to Ami but more as a chromatic approach chord to the C triad (over A-). It does sound as G+ (V) to C Major in its own way, the relative major of A -. I, Harry Likas, was the Technical Editor of Mark Levine’s “The Jazz Theory”.
i like doing stuff like this, you have to fight your ear to continue the parallelism until you start to hear it.
Yes!!
super video! vielen dank!
this is amazing.
Thank you!
The notes B, D#, G make up an augmented chord where any of those notes could be the root of the chord. I wonder which note he's hearing as the root in this context. 🤔
all 3 could work, but I think G is the root for me in this context.
I think in this context B and D# are neighbor tones of C and E. The note G continues being the 7th
Great
What a great pianist!
Flat 5, no?
yeah correct. I spaced out for a moment there ;-)
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라벨은
He said #5 but played a b5 over the Am7.
that's what happened ;-) I meant #11