Ravel Chords for Jazz Guitar-Part1
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- Опубліковано 17 тра 2024
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Musical knowledge and the wisdom and technique to transform it through the Guitar...........is not just a skill but a love of the former and a dedication to the latter. Thank you sir!
Thanks, much appreciated!
Richie, you are an inspiration.
Thanks, much appreciated! It's comments like yours that keep me going because compared to others I get very few views and honestly, sometimes I feel like giving up with UA-cam! 🙂
Ravel ma belle 🎶
Thank you teacher!
I love how you call the ideas "music gems"
By all means, and Ravel is a diamond mine! 😊
Thank you! Ravel and Debussy are two of my favorite composers.
Same
Beautiful sounds; if I am not wrong, you threw in a few of these into your fantastic arrangement of Stomping at the Savoy. They really add a nice colour. Thanks for posting!
Thanks Antonio, glad you enjoyed it!
So beautiful harmonies. Thank you for this great masterclass!
My pleasure, thanks!
Thanks for posting this!! I excitedly wait for your videos.
You are so welcome!
Love the harmonic twists! So cool👍👏😁
Thank you for the chord ideas! It's difficult moving into jazz from country, it's been a 10 year monolith but these concepts are very applicable!
Thanks, glad to hear that!
L'Ondine is another great Ravel composition, in addition to the music you reference here.
Absolutely! L'Ondine is full of harmonic gems!
At first I thought this was a little advanced concept for me, but in the second audition I guess I got it. You explain very very well. I’ll check it out the whole package. Thanks!
Thanks, glad you got it 😀
Ravel Chords for Jazz Guitar-Part2 seems to have disappeared.
Thanks for the lesson, Richie. I haven't listened to Ravel much. Sounds like there's a tremendous amount of useable material there.
Absolutely!
Coryell was heavy into this as well. Great info. thank you.
True, Larry performed an entire Ravel piece on solo guitar. Can't remember if it was Bolero? Nonetheless, it's too bad he didn't adapt any of Ravels harmony in the context of jazz standards. Or did I miss out on it?
It was Bolero Rich. I had the good fortune to go see him at Rollins College here in Orlando, back in 2009.
Yes, now that you mention it, I remember hearing him play Bolero at a solo concert in Orlando during the early 90s. He spent his final years there...
This is a wonderful and super useful lesson! Thank you🎶
You're very welcome!😊
Stella was cool Richie! I gotta remember this. 🔥
Thanks for this, fascinating - love Debussy & Ravel and finding new chords so this was early Christmas! Beautiful guitar, too - Roger is an amazing craftsman / artist!
Thanks, glad you enjoyed it!
Três interesting thanks
Interesting. Your videos never disappoint.
Thanks, that's great to hear!
@@RichieZellon Subscriber and big fan. Cheers.
I used to call this chord B7/C and I learned it from Ed Bickert.
Yes!!! He used it a lot!
Impressionists were ahead of time.
great sounds. thank you.
Django was influenced by Ravel too
So in other words when you are constructing a diminished major 7th, you can put other notes in with the chord besides the root, b3rd, b5th, and maj7th? As an example at 8:04 the chord contains c - eb - ab- b. The ab would still be in the c diminished scale but it's not a chord tone....Does that make sense?
Absolutely! They now become chord tones or if you rather, call them extensions. In the octatonic sym dim scale, all the notes can form part of the chord. Oliver Messian was a master at doing this, but keep in mind it's not always functional harmony.
Who were the impressionists?
Mainly Debussy and Ravel
@@RichieZellon cool. Thx.
You could probably throw in Erik Satie as well, mostly very starkly voiced piano music. Try the Gnossiennes and/or Gymnopedies
@@marktezak2896 absolutely
Very nice examples of the chord in tunes. BUt there is no "C" in the chaord on beat 1, m. 3. So how is that a C dm?. Nor to I see A dim. The only dim triad I see is F dim.
I'm not sure which example you are talking about. Could you be more specific? Maybe tell me the time on the video on the example you are referring to and I'll be glad to answer your question.
@@RichieZellon In th in e first example, you cite G dim/maj7 in m. 4. Then in m. 3 you say C cim/maj7. I don't hear or see that in the score.. I also don't hear an A dim/maj7 either. The following notes are cirbled: F, Ab, Bb and B nat. I don't understand how those notes make either a C or a dim.
@@embodiedconducting We can call it many things! Keep in mind that we are not dealing with functional harmony here and the conventions when analyzing a chord structure from the octatonic symmetrical diminished are not the same as when doing so with those from a heptatonic scale. Especially if not in a functional context.
In the case of a diminished scale, any of its notes can be combined to form a chord and because of the inversions and its inherent symmetry, the name is not so relevant. However, I am calling it a Cdim-maj7 because the notes are all included in what could be a C, Eb, Gb or A dim scale (again C here is just a point of reference to understand its origin and application in the jazz setting that later in the video I demonstrate it in). So the C dim scale is made up of C, D, Eb, F, Gb, Ab, A, B. The chord in question from bottom to top is A, F, Ab and B. All of these notes are in the Cdim. If you play this chord on the piano while playing the scale, you can hear the relationship. The structure I am calling a Cdim (with maj7 because B is on the top) in this case works perfectly where a conventional dim voicing would be used only that with more tension which your ear might not be used to. I demonstrate it over the standards. How it sounds has to do with the context it is used in and how it resolves. So all that said, what would you call it?
@@RichieZellon Thanks for taking the time to explain your contextual approach. It was helpful. What would I call the structure in qustion? The conductor in me would opt for Amaj9aug, applying the C# from the previous measure to fill the chord. The jazz bassist in me would call it Fdim/A. In either case the important question when trying to analyze it remains: where is it going or where does it resolve. Given the stepwise descending bass line from A down to E, I favor the former analysis over the latter. My referential scale might be A, B C#, D#, E#. F#, G# or F#, G#, A, B, C#, D#, E#, F# (F# melodic minor. To close, I don't see either analysis (yours or mine) right or wrong. Both are valid.
SPRING IS HERE is by Rodgers and Hart. It would be nice if you gave credit to composers.
He wasn't maliciously omitting their names. Not in the case of "Spring is Here," but, with the vast amount of contrafacts, the naming of the original composer can become wordy and not necessary to perform the song. Please do not misconstrue this as something it isn't. It is good to know the og composer, of course 100% agree. Credit should be given. Obv.
E.g
Oleo by Sonny Rollins
When someone says Oleo by Sonny Rollins, unless educating someone on a specific song or origins of a song ( clearly.not the topic of this video, so it isn't applicable), they won't be likely to say
"Let's play Oleo by Sonny Rollins, which is actually using the same chord progression as Gershwin's."I've Got Rhythm" which is commonly called "Rhythm Changes."" Because it is, in the community, considered common knowledge. Just like the composers of various standards and jazz standards.
Also, why did you bring up that one specific song? I ask because he didn't put the composer for "Unforgettable" nor for "Out of Nowhere. "
Just my opinion.
Low Key Barry Harris. :>
Jazz ripped off European music. Don't tell the censors.
At least you have the self awareness to call yourself a propagandist