1. Practicing 2-5-1 through the cycle - Rootless voicings - A position 

Chinese PhD student majoring in music education, Watching your videos for a whole year has gained so much, I really hope to go US to learn jazz piano with you.

Found my way here through Bill evans Never let me go Thank you Inspiring me to get started again

Most useful and important practice to learn jazz

Excelent exercises Sir Tony Winston!

Me encanto !! Muy fácil y práctico! Gracias

Thanks tony

Thank you very much :)

Learning a lot!! From Guatemala

Yahoo, Tony, this lesson speaks my language. I first encountered the term and idea of "box voicings" in the previous videos and compared those voicings to the A/B voicings you discuss here. I'm more familiar with this lingo than box voicings as its the core of what I got from both my longtime jazz teacher (u of Miami grad and teacher at the new school) and my Berklee online jazz course. One thing that I learned in those contexts, that I never realized the importance of before, is the location of notes on the "meat" of the piano, across the 12 keys. The key of F sometimes being a little tricky as to whether A or B is used, given melody and other notes Etc. But I keep in mind that in the case of C major to E (or F) major the 3rd of both the ii chord and the tonic are on the bottom, whereas in all the keys from F# to B major its the 7th on the bottom. But anyway one big point that youre getting at here - which is something I think about all the time now - is the common device of moving from a minor to a major tonality or the reverse. My old teacher frankly told me he doesn't necessarily think this way as much as I do, but I find it helpful and interesting as this comes up so much in the music that I love now that (after many years of jazz study) i think more about key centers. With jazz tunes like How High the Moon this device is obvious but Im thinking of stuff like Stevie Wonder's Ribbon in the Sky where its a major ii-V going to a minor tonic, and how the use of the sus chord on the V helps smooth out that transition. But the song to me is all about that device which keeps being used throughout. I dunno I just think about how transitioning tonality from minor/major tonality is employed on songs like "while My Guitar Gently Weeps" (where verse is all in A minor, and chorus is all in A major) and countless other tunes, and I think it helps me in playing them. The minor ii voicing you mention is using the "crunchy" sound of the 11 next to the b5, and that's something that I learned to employ a lot, maybe even as a suggestion for any minor iib5-V. My teacher called this the "herbie voicing" and its a modern sound I think. Its interesting to think about how some jazz folks a la Barry Harris say just think of ii-Vs as all V, and with that voicing you're actually on the tonic of the V but that's a note you'd only play for the ii - since in jazz rootless voicings theres no tonics in the voicings. Great stuff, thanks as always for such pleasant and helpful materials.

FANTASTIC video!

Please The first book of blues de J. Aebersold

Super Video !! Thank you !! Just a question: the "riff" at 10:04, how do you build it? How do you think? Is applicable in different other ways and chord too?

👍

great vid, thanks

If I remember correctly you call these box voicings or something like that

Do you have a lesson to practice the minor 2 5 1's?

Looking good man 😜