The video home of David Ryshpan Pianist/keyboardist for Vox Sambou, Kalmunity, Jorge Ben Jor, Sonia Johnson Composer/arranger - Trio Bruxo, Alicuanta DJ/radio host - CKUT 90.3 FM (Montreal)
Love it - this is the best explanation of jazz piano comping that I've been able to find. You've helped me a ton - Thanks so much for sharing these videos!
Thanks Dave. I think it was important that you emphasised living with/shedding a new concept so you don't need to use the intellectual side when your in flow. Nice playing.
How would you recommend distributing the notes between the hands for the drop 2 (no camera view). 2 in the left and 2 in the right? Do you recommend sticking to one distribution or practicing all ( 1 & 3, 2 & 2, 3 & 1)? Thanks for the videos!
I learned all the rootless voicings in the context of the 2-5-1 progression (both the A and B voicing) and then the muscle memory in my fingers automatically takes over without me even thinking about it. It’s the same for every key. I don’t think of 3rds and 7ths. Should I be? My teacher had this all down on paper.
It's a delicate balance of "thinking" vs. "muscle memory." Obviously in the moment the music is going by too quickly for us to think consciously about intervals. I definitely hear the voice leading, and feel the voicings under my hands, and I can immediately notice if something is off. Hope that helps!
David, this is great stuff. I totally dig your thorough approach to comping concepts, you offer much to work with, really! Thank you for your generous sharing, much appreciated!
Great info! Thanks David! I'm also in the process of moving to Vst's with Gig Performer and a computer. It's very time consuming but I think it's worth it in the end. Are you using a backup UPS for your computer or are you just running on the batteries? Did you ever consider going with only one keyboard and using splits? I would be also interested in your process/approach learning the new songs from the record for this upcoming gig. Do you write them down in Mobilesheets and trigger the sounds from there? Sorry for the long comment/questions.Thanks again!
Thanks for watching! - I plug in my computer always, and my power bar has surge protection but not a backup ups battery. - I have gigged just Mainstage with one controller many times. Since there may not be a guitar player I might need more range on multiple sounds, plus the redundancy of a Nord or other digital piano gives me peace of mind. - I generally chart everything and then try to memorize it. I do use MobileSheets but I don’t change my sounds from there - I have buttons mapped on my Novation for patch up, patch down, set up and set down.
Thank you! This articulation of the Red Garland rhythm was the same what I was taught by the great Danish jazz pianist Martin Shack. It took me some time now to understand the difference between dit and dot. Wasn't the more classical way of dribbling those chords the one that resembled the longer "Dot"? You're saying that the proper Red Garland resembles "Dot". But your explanation sounds really good with avoiding the vertical staccato. By the way, just extra fun fact: apart from Red Garland, Ahmad Jamal has also many recordings of extensively using this style of comping.
Merci beaucoup. I only started my music education after 65 yoa when I bought a piano. I had joked my whole life that I had been born with two left ears. I'm trying to change that. I was humbled by a video where I realized that after two years of playing I wasn't yet ready to call myself a beginner, since I need to work on the basics. This is an amazing video that presents a very basic concept in a clear way. I started watching part two, but took your advice.
Quick question though...How would you practice something like "King of the Hills" and be able to freely improvise with the RH once you get the LH pattern down? What are the steps you go through to add the RH? Do you start with a 1/8 note scale very slow around 40BPM with the RH? What would be the next steps? Arpeggios? Thank you!
The way I worked on it was quarter notes on a single pitch, then quarter notes on small arpeggios or scales. Then I'd go to smaller subdivisions like eighths and 16ths, and then I'd move to triplets and sextuplets.
Thank you! Superimposing means to be thinking of different harmony instead of, or at the same time, as the original harmony (like playing Db minor while the F minor is happening). My real point is that I've worked on that individual sound to a level where I am not actively or consciously THINKING about that superimposition - it has become a word or a sound or a sentence in my vocabulary. All I'm consciously thinking about is the melody, the tension, or the emotion that using that superimposition/phrase would convey.
Much needed precision and insights to Yannick’s take. I think you’re absolutely right about the industry’s model that needs to become much more fluid, about the fact that the promoter’s job is in the artist’s hands far more that any artist would want. And also such a great point about putting forward francophone content. I’ve been saying this for the longest time, if we were better at shining light on our language through culture, we wouldn’t need some of our “language preserving” laws but that is also a whole other story!!
Arturia's bass has a beauty in the lower spectrum .... wonderful harmonics ....and then you can adjust the brightness and color on a lot of presets ....which makes a sound readily usable with minimal tweaking ...
For April fools you should do a comparison “analog vs digital” But for all sounds have it be the same exact synth sound every time. It would be hilarious to see people be like “Number 5 sounds the warmest”
