Adam has a new course! - openstudiojazz.link/maness FREE PDF to follow along - learn.openstudiojazz.com/clut... Let's get clutch! Adam Maness is gonna teach you 3 essential chords.
What happens if Adams stops making videos? Something happens to him? Would you stop learning? That’s such a shallow way of learning, who cares who is teaching us? We should be open to learning from anyone, you are the type of person to not learn from someone who has a skin color who is a bit darker no matter how talented they are. Stop crushing talent and be open to learning no matter what, or else you will be left with what you begin with.
@@botvinny608 No, YOU relax. These type of comments are the ones who get 10k likes while it doesn’t support the cause we are here for, enjoying to learn and be open minded.
Harmony’s such a cool thing, ain’t it? Don’t get me wrong, the melody of a song is important-but the harmony and the implications of subtle differences in the voicings for me are where the piano truly becomes that, “vehicle of expression,” that we’d want it to be.
Do great jazz musicians keep an encyclopedia of these random chunks of musical goodness in their working memory to be able to recall them to the keys whenever the musical moment strikes? Each of these videos is GOLD, but I can’t remember all of these things while improvising 😢.
It helps to master one or two and overuse it in as many contexts (tunes) as you can imagine and in as many keys as you can imagine then when you are almost sick of it add more. By doing this over time they will be internalized into your improv vocabulary! Best of luck in your practice!
@@calebraysilcott9471ch a good comment lol it’s really about taking one sound or concept or skill and practicing the crap out of it until it’s ingrained in your muscle memory and your ear and i really love how caleb said it - *overuse* it. it’s not the only way to practice, but it’s one hella effective way! (and fun) you just fckin tastelessly put that shit everywhere so you get used to the physical feeling of using it and the experience of hearing it in all the situations you might want it (and all the situations you don’t), and then you gradually dial it back to a sound in your palette
I reccomend just overusing the technique as much as you can until it gets stale, then move to another and so on. You eventually achieve a balance of all the techniques you learn so you don’t get tired of any particular thing
Think kinetic memory, not short term memory. Your "fingers" (cerebellum) can remember a lot more a lot better than your short term memory. A good player shouldnt be conciously "thinking" too much when they perform.
I’m not good enough to really incorporate a lot of the ideas on this channel yet, but I like watching this stuff, cuz it’s like seeing what is down the road. So inspiring, so beautiful.
Thanks so much for your videos! Your style of playing is so pleasing. Way too advanced for me at the moment, but who knows? Maybe I'll get somewhere approaching this someday.
Really appreciate you guys putting out shorts so i can retain some non braindead information from youtube shorts. Also not trying to pitch me some paid class or anything. Its really difficult to find just straight usefull information on music theory online these days and you guys are one of the few resources that is pretty much great in all ways. Keep it up please!
Just adding this because it's under used and very cool. Root, Dom 7, 9, 13. No 3, no 5, it's dominant, it has a 5th in it. It can be very ambiguous and used in different ways to transition very creatively. Its a composition Swiss Army knife.
As a saxophone player, your short videos really help bridge the gap in understanding between what I am hearing and how you guys get those sonorities. Thanks a bunch!!
What’s crazy is I use to randomly play those with no context as a kid!!! Now that I’ve grown and season a little bit it’s about placement for me!!! Know when to use those chords!!!
Yep :') That's one of the coolest things to do, rediscover things you used to do, sounds you used to enjoy creating, and learning more about different contexts to use them in, why you like them, what they really are, who else used them. It's such a full-circle feeling.
This guy is telling all the secrets that took me 10 years to teach myself from a radio boom box as a kid. I wish I grew up with a teacher. Many many hours teaching myself.
I'm glad to come across an Open Studio short. I was digging into your content before YT introduced shorts and triggered the ADHD I've fought my whole life.
For those that like a systematic treatment of fancified dominant chords, look up the Upper Structure system. It characterizes 9 extensions/enhancements to the basic dom 7th chord. In that system, example #2 here becomes: C7, US #iv, root doubled.
I think there are lots of videos on by Barry Harris himself on RU-vid covering this topic (6th diminished scale), he has recorded many masterclasses. And there are also many people that explains his method (with the info extracted from his own videos).
It took me over five minutes to decode the 7-3-7-3 part... In case anyone wonders: It always refers to the root of the base F. See you next year when I understood the rest...
So cool! Been learning piano for only 6 months now but apparently it's the instrument I was made for (I knew since I was 5, but got distracted with guitar and didn't start taking lessons until now, 33... 🥲) so this is super useful to level up. There are some bits here that I find totally doable and applicable to my playing after some practice, specially the first set and Barry Harris stuff. Thank you for this! I love it!
a common way to open misty is with a Idim7 chord into the Imaj7 (in the key of Eb, it would simply be Ebdim7 into Ebmaj7). another example is Oscar Peterson's recording with Clark Terry, where he plays a D7#9/Eb into Ebmaj7.
Hey guys. I'm tryna learn sheet music, why is there a sharp symbol at the beginning of the staff right after the cleffs, even though there are no notes after it
the chord with the #11 is the fourth degree coming from the melodic minor , but if you add the flat 9 it change the rule , where is that coming from? thanks a lot man
Very nice but in the first example there's a lot of doubling of voices (3rds and 7ths). In previous OS videos on voicing I thought this was generally to be avoided. Adam, can you clarify?
Thats the thing about voicings that confuse me allot. Typically if the chord involves notes into the next octave going up I use that as an indicator that it may be a stacked chord up to C9 or 13. What note is where makes it tough to figure out what is what.
at the start with 1 7 3 7 3 when you arrived to the key of C major you played the dominant 7 instead of the major 7. Just thought I'd let you know and I forgive you :)
I straight up wonder what music school is like now that professors have to teach and talk about Sus chords. Do some professors fk with their students, do other professors do a "How do you do fellow kids" with bad joke routines, do some professors eye murder any student that makes a sus joke when they talk about Sus chords? I seriously wonder.
