Very enjoyable, Ron! For some reason I really liked the way you did the Bb pedal tones, which I think appear twice in the tune, so they were repeated with each chorus. I also loved watching your right hand during the fast parts. If you ever see me trying this at speed, please call 911 immediately. it is dangerous and done entirely by accident. I think it would make a beautiful ballad!
Awesome. I loved breakdown of Coltrane's choice of chords and how he got there, and I loved the great advice on how to practice fast tunes. Thanks Ron!
Wonderful and makes me remember watching your video few months ago on "Lazy Bird" since similar structures and both are on one of fave albums all time, "Blue Train". And, has to be my fave 'Trane album too. Your explanation of the birth of modal/Cool jazz movement from "Coltrane changes", one of the most interesting historical references that I never even heard before in all my years---but makes total sense that happened along with Tyner's planing left hand quartal structures up and down the chromatic and whole tone scales for more dramatic outside playing development. And, that every modern post bop pianist from Hancock to Corea has employed ever since, esp. in later choruses---but also in being able to totally break the form for several choruses before coming right back into it. That's called really knowing the tune in your bones, but really having supernatural "pitch" abilities to listen to your other band members in the most advanced cases/performances! ----though your mission of mile wide and foot deep going through the entire book is very important also but daunting indeed, esp. since "....Notice" requires more than a foot deep of practice to master...where are your other upvotes, since no one I've seen on youtube even attempting what you're doing, thanks so much.
Thanks! Yes, it's a lot of ground, and covering it expands our versatility. It's all the same in a way - you just play what the tune calls for in your own way.
Dear Ron, I can imagine that I would (wish/goal list) truthfully do more work to learn the melody, roots, changes as chord outlines(played slowly). To sing an improvisation😣🤐🤐???? No, to hear and appreciate Trane while listening to and enjoying all his compositions at this level in a stress-free manner. Hey, I've taken on a reasonable goal for myself!!! Enjoying the series and gathering wisdom that shall be followed by solid actions(to avoid mere head knowledge). Thanks, Maestro.(vamp=for me😅). 🌹🌹🌹🌹
Thank you, Ron for your generous insights and such an in-depth look and playing example of this challenging tune - so much great stuff here! Moment's Notice is also great one to practice comping with a variety of voicings, registers and sensible voice-leading. I find this really helped me to learn the tune. In addition to Coltrane's version, Dexter Gordon's recording with George Cables on the "Manhattan Symphonie" album is well worth checking out.
Always enjoyable to watch and work through these lessons! Thank you, Ron. Can't help but notice the acoustic guitar in the background. Are you also a guitarist?
Thanks - I'm glad you're enjoying these! I played guitar in my early teens, before I became really serious about the piano. I was the worlds worst guitarist, but the best Neil Young imitator! I still have a few guitars around the house, which I'll pick up from time to time. I wish I could play classical guitar!
@@mlsiebert I'm intrigued by how the shapes on the fretboard translate into musical lines, which is so different than how they appear on the piano keyboard.
Great stuff! One thing I find a bit confusing, Ron, is that you start by doing a very simple improvisation on the chords (even if just playing a scale). And you don't play the melody. When I practice a new tune I always start with the melody.....often with the chords but not necessarily if the chords are really difficult. With your way of doing it it does lead very naturally into improvisations. So would you recommend that as opposed to starting with the melody?
Hi Larry. I actually did start with the written music in the Real Book, which is an extended intro of sorts. But yes, your idea is a good one if it helps!
@@larrysaidman Yes, learn the melody first. But when practicing improv, you can choose to start with the chords on any given day, if you wish. The chord progression can live separately from the tune's melody.
![АЛАУДИНОВ у Скабеевой: эти их ВСУ нас НЕ ДОГОНЯТ 😁 [Пародия]](http://i.ytimg.com/vi/an0anqU4WGQ/mqdefault.jpg)
Amazing!!!! Your videos inspire me endlessly to keep playing and exploring tunes in the real book, thank you so much for these videos!
Thanks, Joseph - I'm glad these are inspiring you!
Very enjoyable, Ron! For some reason I really liked the way you did the Bb pedal tones, which I think appear twice in the tune, so they were repeated with each chorus. I also loved watching your right hand during the fast parts. If you ever see me trying this at speed, please call 911 immediately. it is dangerous and done entirely by accident. I think it would make a beautiful ballad!
Thanks for the heads up, Randy. - I'll have my phone handy!
Awesome. I loved breakdown of Coltrane's choice of chords and how he got there, and I loved the great advice on how to practice fast tunes. Thanks Ron!
I'm glad this helps, John - give it a try!
Wonderful and makes me remember watching your video few months ago on "Lazy Bird" since similar structures and both are on one of fave albums all time, "Blue Train". And, has to be my fave 'Trane album too. Your explanation of the birth of modal/Cool jazz movement from "Coltrane changes", one of the most interesting historical references that I never even heard before in all my years---but makes total sense that happened along with Tyner's planing left hand quartal structures up and down the chromatic and whole tone scales for more dramatic outside playing development. And, that every modern post bop pianist from Hancock to Corea has employed ever since, esp. in later choruses---but also in being able to totally break the form for several choruses before coming right back into it. That's called really knowing the tune in your bones, but really having supernatural "pitch" abilities to listen to your other band members in the most advanced cases/performances! ----though your mission of mile wide and foot deep going through the entire book is very important also but daunting indeed, esp. since "....Notice" requires more than a foot deep of practice to master...where are your other upvotes, since no one I've seen on youtube even attempting what you're doing, thanks so much.
Great points all around! We're going deep here :)
Nice!!! love playing that song!!!
Thanks Chris! And great guitar playing on your videos!
That was great! And thinking back on all the ground you’ve covered with this series, your versatility is really evident.
Thanks! Yes, it's a lot of ground, and covering it expands our versatility. It's all the same in a way - you just play what the tune calls for in your own way.
Dear Ron, I can imagine that I would (wish/goal list) truthfully do more work to learn the melody, roots, changes as chord outlines(played slowly). To sing an improvisation😣🤐🤐???? No, to hear and appreciate Trane while listening to and enjoying all his compositions at this level in a stress-free manner. Hey, I've taken on a reasonable goal for myself!!! Enjoying the series and gathering wisdom that shall be followed by solid actions(to avoid mere head knowledge). Thanks, Maestro.(vamp=for me😅). 🌹🌹🌹🌹
Yep - and the key is that you said "stress-free!"
Thank you, Ron for your generous insights and such an in-depth look and playing example of this challenging tune - so much great stuff here! Moment's Notice is also great one to practice comping with a variety of voicings, registers and sensible voice-leading. I find this really helped me to learn the tune. In addition to Coltrane's version, Dexter Gordon's recording with George Cables on the "Manhattan Symphonie" album is well worth checking out.
Thanks, and Gordon and Cables play it wonderfully!
this tune is a showcase for your technical virtuosity...but also brauns and heart. Bravo!
Thanks - I couldn't have done this 20 years ago!
Always enjoyable to watch and work through these lessons! Thank you, Ron. Can't help but notice the acoustic guitar in the background. Are you also a guitarist?
Thanks - I'm glad you're enjoying these! I played guitar in my early teens, before I became really serious about the piano. I was the worlds worst guitarist, but the best Neil Young imitator! I still have a few guitars around the house, which I'll pick up from time to time. I wish I could play classical guitar!
Yes, classical guitar is a world of its own. The serious players I know practice for hours. Every day. It’s very demanding.
@@mlsiebert I'm intrigued by how the shapes on the fretboard translate into musical lines, which is so different than how they appear on the piano keyboard.
@@rondrotoskeyboardimprov9453 That's exactly right! You can move both horizontally and vertically on the fretboard. Unique.
Great stuff! One thing I find a bit confusing, Ron, is that you start by doing a very simple improvisation on the chords (even if just playing a scale). And you don't play the melody. When I practice a new tune I always start with the melody.....often with the chords but not necessarily if the chords are really difficult. With your way of doing it it does lead very naturally into improvisations. So would you recommend that as opposed to starting with the melody?
Hi Larry. I actually did start with the written music in the Real Book, which is an extended intro of sorts. But yes, your idea is a good one if it helps!
@@rondrotoskeyboardimprov9453 Sorry I wasn't clear. I was referring to your general description of how to learn a fast tune.
@@larrysaidman Yes, learn the melody first. But when practicing improv, you can choose to start with the chords on any given day, if you wish. The chord progression can live separately from the tune's melody.
I didnt know that Mark Ruffalo can play jazz!
You never know!