Online store: gumroad.com/danthecomposer - In addition to Subscribing and Liking, do consider seeing all my recent videos in one place to keep up to date and find answers to questions you may have: ua-cam.com/users/danthecomposervideos - as well as considering my blog for a spot of wisdom: www.piano-jazz.blogspot.com. If you'd like to support me, try Patreon: www.patreon.com/danthecomposer
Thanks for such a great breakdown of this song. I'll be playing it on guitar in the key of C; my unschooled brain is about to meltdown trying to understand it and transpose keys.
Can't thank you enough for this tutorial Dan! Lovely playing as per usual. I think a lot of us appreciate when the instructor takes the time to go through the chords and notes slowly and patiently. Could you please do some more standards like this (in this manner)? Also, is there any way could could do a tutorial on Lewis' Afternoon in Paris? or perhaps another beautiful classic like In A Sentinmental Mood. You wouldn't happen to know any Bill Evans tunes would you? Haha! Thanks again and keep them coming you are a wonderful teacher and player.Cheers-m.f
+Maryann Fasnacht Thank you for your lovely comment, and welcome! Always nice to be appreciated, even when it's a labour of love!I have added your two requests to my request list (which is growing and I'm doing them in order to be fair!) I know My Foolish Heart which Evan's has a great recording of so I'd love to do that? ua-cam.com/video/a2LFVWBmoiw/v-deo.html Do also consider my blog: www.piano-jazz.blogspot.com Best to you and thanks again, Dan
Hello Dan! I'm not at this point yet, but it's rather nice to see where I am heading in your lessons. I very much appreciate how you explain these concepts in a very easy manner that even I can understand; I do not quite grasp minors, major, dominant, voicing, but it will come as I progress. My mind-body has now grasped the concept of how the scales are crucial to understanding chord generation which is so fun! OK, I'm heading to London in a bit, then to Italy! Thanks again, Dan! Namaste, my friend. Warm regards, Dina PS: I think I see a few cat hairs on your keys. ;o)
+Dina Giacobbi Dammit! I cleaned it before the recording! You should be playing with your eyes closed, anyway ;) I appreciate your appreciation, too. If you do not grasp those things yet, make sure you have all 12 major scales down both at and away from the piano. Only a week or two for that. Then, watch this: ua-cam.com/video/VfECYM8tB04/v-deo.html Enjoy your travels!!! Namaste, Dan.
Hi Dan ... I can't say that I agree with your voicing of the Ab13 chord at the very beginning of this video. You included the D (sharped 11) in the voicing and left out the 3rd. It would seem that you would include the 3rd and leave out the sharped 11 because the melody note is the sharped 11. I assume that was an oversite due to the pressures of creating a video off the top of your head. I do value your insights but I just could not let this pass. You never know how that might affect a beginner.
Don, Thank you kindly for your message and welcome to my channel. I accept your comment entirely, having watched it back. Do notice I explain the voicing before hand but I agree with your observation since it is undeniable. Perhaps this thought entered my head but I didn't want to restart!? Nevertheless, thank you. Best, Dan
Halo Dan，upper 4th chord progression in Tenderly，for example，bar 1-2，why the upper forth is dominant alt？ the same in 9-10，how to impro in this 2 bar？is it Modal interchange？ its comfuse me alot！ thanks alot
Hello there. Welcome to my channel and thanks for your comment/questions. The dominant altered chord in bar 1-2 - I assume you mean the Ab13/9/#11? First of all, a jazz pianist would only need to see Ab7 to know it's a dominant chord and that any altered chord is possible. An altered chord is one containing a major 3rd, dominant 7th but the 5, 9, 11 or 13 NOT being natural tones, meaning, they have to be, well, ALTered. b/#9, #11, b13 or #5. This is the idea. Based on the song and improvisation, the performer will choose one (also depending on how the feeling takes them!) I'm not sure what is in your mind when you say "upper fourth" is "dominant alt". Can you clarify? I simply played a b9 with a #11 which isnice because the melody note itself is the #11 and the 9 is just smooth an tasty :) I removed the third, of course, but only so the chord didn't sound muddy due to the Bb and D.. then a C in the middle.. but why not - it works both ways to the ear :) To improvise over a dominant alt depends on how it's altered. Logically, the blues scale works, as does treating the chord and the key its in as the mixoloydian mode (5th mode.. see here if you don't know modal theory: ua-cam.com/video/wDeDccsm3YE/v-deo.html ) - Ab would thus be the 5th of Db so you can play Db's major scale. I hope this at least helps. Please ask anything else if you still need. Best, Dan
Also, can a tritone substitution only be called that when the chord being substituted is the same type as the original? What about replacing a Bm7 Aeolian chord with a F major chord? Would it still be tritone substitution then? Thanks
+Climbers Of Ice ALT means Altered. It is an altered dominant 7th chord and they usually do not contain the root (rootless voicing). The major third should be present and is 'usually' the first note of the voicing shape (in either hand). The 5th must be sharpened (which is also a b13) and/or the 5th may be flattened (usually notated as #11 since b5 usually comes into play with diminished chords). It cannot be natural. The dominant 7th is always included. The 9th may be 'b' or '#'. So, A7alt can be anything you want it to be, as long as it follows the above laws :)
+Climbers Of Ice Second question: I honestly can't get my head around your question. A tritone is a dominant 7th chord replacing another dom7 chord a perfect third below. C goes to Gb, D would be subbed by Ab, etc (quickest way to find a tritone sub is to find the b5 of the major scale but know it's a 'tritone' logic rather than anything to do with a b5, because it isn't, it's just a quick way to find it). Tritones share a 3rd and dom7 note value. C7's 3 and d7 are E and Bb; Gb (tritone sub)'s 3rd and 7th are Bb and E :) That's why this logic works well with dom7 chords. As for Bm7 Aeolian. I understand your logic, being that Aeolian is the 6th mode, B is the 6th of D, but I don't understand the question exactly about 'replacing'...
+Climbers Of Ice It doesn't mean anything specific; artistic freedom! Play around :) If a jazz group is improvising, they must be careful with ALT chords since one (guitarist) may play a #11 (b5) and natural 13th with b9 whereas another (pianist) may play #5 and #9! Big problem. Usually they agree beforehand or keep quiet during the other's solo.
+Climbers Of Ice I don't dislike it, it is simply wrong terminology. The word 'diminished' means: a group of minor thirds... this results in the 6th being played (also called 'whole diminished). Half-diminished is exactly that, not whole, because the top minor third is not a m3, it is a major third. I will never say or promote 'diminished 7'.
+danthecomposer wouldn't that be subjective? Diminished doesn't have that as a fixed definition in the dictionary.. It just means a semitone less. And apparently the logic of calling it a diminished 7 is to imply that the seventh is diminished. In notation in particular, it matters. If a diminished chord is a group of minor thirds, in order for it to look like that on paper there needs to be double flats in notation. C full diminished would be on a staff starting on middle C: C Eb Gb Bbb (that's the diminished 7th). Otherwise 2nd intervals appear on the paper, not that it's extremely important but, so that it looks nice lol. Same thing happens with B full diminished, the A (7th) is flattened to make the flattened 7th (double flatted M7) I personally don't care but it's interesting that such a discrepancy exists.
+Climbers Of Ice Subjective yes, but also logic. People say minor 7 when they mean dominant 7 which is ridiculous since minor only refers to the 3rd. Another nonsensical terminology which confuses. The 7th is not 'diminished', because one does not 'diminish' a note value; it's not a verb, it's a noun: play C diminished / half-diminished. Diminished = m3, b5 and EITHER 6th or dominant 7th... It keeps things logical, simple and clear. Bbb??? Amusing. Why wouldn't want notate as an A since it's simply a 6th? Whatever you do, please don't say "C minor 7th" and play C E G Bb!!!!
+danthecomposer you would have to double flat the A assuming you're abiding by the diminished 7th logic, and so that on notation it looks like a group of third intervals. Otherwise it will look like two 3rd intervals and then a 2nd interval. (The way they stack on paper) again, I'm pretty neutral, agreeing that whole diminished is simpler and more practical. And don't worry, that's one thing I detest, referring to a 7th as a minor 7th.. Confusing and for really no reason.
Online store: gumroad.com/danthecomposer - In addition to Subscribing and Liking, do consider seeing all my recent videos in one place to keep up to date and find answers to questions you may have: ua-cam.com/users/danthecomposervideos - as well as considering my blog for a spot of wisdom: www.piano-jazz.blogspot.com. If you'd like to support me, try Patreon: www.patreon.com/danthecomposer
Thanks for such a great breakdown of this song. I'll be playing it on guitar in the key of C; my unschooled brain is about to meltdown trying to understand it and transpose keys.
Interesting tutorial and overview to jazz playing, Danthe!
+♦ Elias Luukkanen ♦ Thank you for watching, Elias. I hope you got a few ideas from it.
Best,
Dan
Can't thank you enough for this tutorial Dan! Lovely playing as per usual. I think a lot of us appreciate when the instructor takes the time to go through the chords and notes slowly and patiently. Could you please do some more standards like this (in this manner)? Also, is there any way could could do a tutorial on Lewis' Afternoon in Paris? or perhaps another beautiful classic like In A Sentinmental Mood. You wouldn't happen to know any Bill Evans tunes would you? Haha! Thanks again and keep them coming you are a wonderful teacher and player.Cheers-m.f
+Maryann Fasnacht Thank you for your lovely comment, and welcome! Always nice to be appreciated, even when it's a labour of love!I have added your two requests to my request list (which is growing and I'm doing them in order to be fair!) I know My Foolish Heart which Evan's has a great recording of so I'd love to do that? ua-cam.com/video/a2LFVWBmoiw/v-deo.html
Do also consider my blog: www.piano-jazz.blogspot.com
Best to you and thanks again,
Dan
Hello Dan! I'm not at this point yet, but it's rather nice to see where I am heading in your lessons. I very much appreciate how you explain these concepts in a very easy manner that even I can understand; I do not quite grasp minors, major, dominant, voicing, but it will come as I progress. My mind-body has now grasped the concept of how the scales are crucial to understanding chord generation which is so fun! OK, I'm heading to London in a bit, then to Italy! Thanks again, Dan! Namaste, my friend.
Warm regards,
Dina
PS: I think I see a few cat hairs on your keys. ;o)
+Dina Giacobbi Dammit! I cleaned it before the recording! You should be playing with your eyes closed, anyway ;)
I appreciate your appreciation, too. If you do not grasp those things yet, make sure you have all 12 major scales down both at and away from the piano. Only a week or two for that. Then, watch this: ua-cam.com/video/VfECYM8tB04/v-deo.html
Enjoy your travels!!!
Namaste,
Dan.
Awesome!!
+TPBass1224 Thank you muchly! Welcome.
Hi Dan ... I can't say that I agree with your voicing of the Ab13 chord at the very beginning of this video. You included the D (sharped 11) in the voicing and left out the 3rd. It would seem that you would include the 3rd and leave out the sharped 11 because the melody note is the sharped 11. I assume that was an oversite due to the pressures of creating a video off the top of your head. I do value your insights but I just could not let this pass. You never know how that might affect a beginner.
Don,
Thank you kindly for your message and welcome to my channel. I accept your comment entirely, having watched it back. Do notice I explain the voicing before hand but I agree with your observation since it is undeniable. Perhaps this thought entered my head but I didn't want to restart!? Nevertheless, thank you.
Best,
Dan
Ps great tip about sounding different. Exactly my philosophy
+Alstallio Music Thank you - it is an important musical point :)
Nice!
+Curtis Igunbor Thank you very much. I hope it helped.
Best,
Dan
Halo Dan，upper 4th chord progression in Tenderly，for example，bar 1-2，why the upper forth is dominant alt？ the same in 9-10，how to impro in this 2 bar？is it Modal interchange？ its comfuse me alot！ thanks alot
Hello there. Welcome to my channel and thanks for your comment/questions.
The dominant altered chord in bar 1-2 - I assume you mean the Ab13/9/#11? First of all, a jazz pianist would only need to see Ab7 to know it's a dominant chord and that any altered chord is possible. An altered chord is one containing a major 3rd, dominant 7th but the 5, 9, 11 or 13 NOT being natural tones, meaning, they have to be, well, ALTered. b/#9, #11, b13 or #5. This is the idea. Based on the song and improvisation, the performer will choose one (also depending on how the feeling takes them!)
I'm not sure what is in your mind when you say "upper fourth" is "dominant alt". Can you clarify? I simply played a b9 with a #11 which isnice because the melody note itself is the #11 and the 9 is just smooth an tasty :) I removed the third, of course, but only so the chord didn't sound muddy due to the Bb and D.. then a C in the middle.. but why not - it works both ways to the ear :)
To improvise over a dominant alt depends on how it's altered. Logically, the blues scale works, as does treating the chord and the key its in as the mixoloydian mode (5th mode.. see here if you don't know modal theory: ua-cam.com/video/wDeDccsm3YE/v-deo.html ) - Ab would thus be the 5th of Db so you can play Db's major scale.
I hope this at least helps. Please ask anything else if you still need.
Best,
Dan
thanks a lot Dan, appreciate a lot。my meaning is upper forth should be Diatonic Chord Abmaj7 not A dominant？why here is dominant？modal interchange？ 3q
Dan？
the second chord sounds like a Gb aug 5
What is, for example: A7 alt?
Also, can a tritone substitution only be called that when the chord being substituted is the same type as the original? What about replacing a Bm7 Aeolian chord with a F major chord? Would it still be tritone substitution then?
Thanks
+Climbers Of Ice ALT means Altered. It is an altered dominant 7th chord and they usually do not contain the root (rootless voicing). The major third should be present and is 'usually' the first note of the voicing shape (in either hand). The 5th must be sharpened (which is also a b13) and/or the 5th may be flattened (usually notated as #11 since b5 usually comes into play with diminished chords). It cannot be natural. The dominant 7th is always included. The 9th may be 'b' or '#'. So, A7alt can be anything you want it to be, as long as it follows the above laws :)
+Climbers Of Ice Second question: I honestly can't get my head around your question. A tritone is a dominant 7th chord replacing another dom7 chord a perfect third below. C goes to Gb, D would be subbed by Ab, etc (quickest way to find a tritone sub is to find the b5 of the major scale but know it's a 'tritone' logic rather than anything to do with a b5, because it isn't, it's just a quick way to find it). Tritones share a 3rd and dom7 note value. C7's 3 and d7 are E and Bb; Gb (tritone sub)'s 3rd and 7th are Bb and E :) That's why this logic works well with dom7 chords.
As for Bm7 Aeolian. I understand your logic, being that Aeolian is the 6th mode, B is the 6th of D, but I don't understand the question exactly about 'replacing'...
+danthecomposer what's the point of having alt mean something so specific?
+Climbers Of Ice It doesn't mean anything specific; artistic freedom! Play around :) If a jazz group is improvising, they must be careful with ALT chords since one (guitarist) may play a #11 (b5) and natural 13th with b9 whereas another (pianist) may play #5 and #9! Big problem. Usually they agree beforehand or keep quiet during the other's solo.
So do you still dislike naming a full diminished chord a diminished 7th
+Climbers Of Ice I don't dislike it, it is simply wrong terminology. The word 'diminished' means: a group of minor thirds... this results in the 6th being played (also called 'whole diminished). Half-diminished is exactly that, not whole, because the top minor third is not a m3, it is a major third. I will never say or promote 'diminished 7'.
+danthecomposer wouldn't that be subjective? Diminished doesn't have that as a fixed definition in the dictionary.. It just means a semitone less. And apparently the logic of calling it a diminished 7 is to imply that the seventh is diminished. In notation in particular, it matters. If a diminished chord is a group of minor thirds, in order for it to look like that on paper there needs to be double flats in notation. C full diminished would be on a staff starting on middle C: C Eb Gb Bbb (that's the diminished 7th). Otherwise 2nd intervals appear on the paper, not that it's extremely important but, so that it looks nice lol. Same thing happens with B full diminished, the A (7th) is flattened to make the flattened 7th (double flatted M7)
I personally don't care but it's interesting that such a discrepancy exists.
+Climbers Of Ice Subjective yes, but also logic. People say minor 7 when they mean dominant 7 which is ridiculous since minor only refers to the 3rd. Another nonsensical terminology which confuses. The 7th is not 'diminished', because one does not 'diminish' a note value; it's not a verb, it's a noun: play C diminished / half-diminished. Diminished = m3, b5 and EITHER 6th or dominant 7th... It keeps things logical, simple and clear.
Bbb??? Amusing. Why wouldn't want notate as an A since it's simply a 6th?
Whatever you do, please don't say "C minor 7th" and play C E G Bb!!!!
+danthecomposer you would have to double flat the A assuming you're abiding by the diminished 7th logic, and so that on notation it looks like a group of third intervals. Otherwise it will look like two 3rd intervals and then a 2nd interval. (The way they stack on paper) again, I'm pretty neutral, agreeing that whole diminished is simpler and more practical. And don't worry, that's one thing I detest, referring to a 7th as a minor 7th.. Confusing and for really no reason.
+danthecomposer I hate to be that guy but, *dominant 7th
You said dominant sixth