Hmm! Inner voicing exercise...hold my pinky in place and work the thumb, index and middle fingers to build my vocabulary. Love the explanation between fills and inner voicings. Thank you for the post and I love this song too.
I’m loving this lesson! I mostly play ballads, and I’m always looking for ways to add movement, this is a great one for me. Always appreciate the videos Jeremy. You’re friend, Socks
Great video. I’ve been classically trained for over a decade and started meddling into Jazz a few years ago, so it’s great to get some info on this stuff (that usually isn’t taught, or taught very well).
Hi Jeremy, your book arrived today Amazon UK, and there's a ton of stuff. I can tell just be flicking through. ( I'm the guy who asked about the Schumann hand stretcher ha ha). I've got about a thousand jazz piano books but I'm really looking forward to this one. Thanks for sharing your knowledge. You certainly haven't held back.
Awesome! Thanks, Ian! Enjoy the book and let me know if there’s anything I can help you with. I’m always looking for more video ideas for the channel. :)
That good ol' 4-3 suspension gets me every time! Some of the things you touch on remind me of Clare Fischer's 'anything goes' approach to inner voice tensions, that -no matter how foreign to the harmony- always seem justified by virtue of its resolutions (I love that he uses the b7 on a Maj7 as a tension). Love this subject to death! Looking forward for you to shed some more light on this in future vids!
My pleasure, Brent! It could all be summarized as "just move your fingers to the wrong notes and resolve to the right notes," but sometimes it's helpful to break it down. 😂
My name is JY from South Korea. I recently bought and am studying your book, but the contents are pretty hard to understand. Is it for advanced-level students or pro musicians? I also go through every single RU-vid lecture of yours. I notice that the volume is too low to hear clearly enough. Hopefully you can adjust your equipment or something to volume up. Anyway I learn a lot from you. Many thanks!!
Hi JY! Thanks for checking out all the materials. Some of the content is very advanced, but not all of it. I’ll do my best to make you happy and the volume levels. Best of luck with your piano journey!
Nice as per usual! I also like to think about where in the chord there is a 6th, or a 3rd/10th so that one can move two voices. I think this works great with all your tips here, if one of your 5 categories is "mastered" one can add it afterwards. (Such as moving the C with the Ab in Fm7 for instance) :)
Thanks so much! Jazz Piano Fundamentals has QR codes linking to video and audio samples. Playing Solo Jazz Piano currently doesn’t but I’m going to publish a second edition over the summer that does…so stay tuned.
Hi, I wonder if you would field a question here. In addition to these little enclosures and embellishments, do you find it useful to create movement by alternating neighbouring diminished and 6th inversions à la Barry Harris, or does the approach in this video give one all one wants? It's kind of a dumb question inviting a stock answer: any additional appproach to creating movement is fine. But what I'm really thinking of is that these chromatic movements (in your video) often mimic lines from the aforementioned Harris-like movements anyway (not surprisingly, since they're both chromatic), but just single note lines instead of triads, or sometimes two notes if both hands are "moving". So I'm wondering whether there is sufficient overlap that you would find the Harris approach superfluous, or maybe you prefer only single (or at most double) moving notes and have no use for the other conception (if you know to what I'm referring). Thank you.
Hi Sheila. Yes, these things are very interrelated. To me, I separate in my head between "reharmonization" (adding chords) and "inner lines" (moving around a note melodically, often within a chord). But often they end up creating somewhat similar effects. It's all about what works for you - sometimes one mindset works better than another for different individuals.
@@JeremySiskind Thank you so much, and also for your wonderfully professorial videos. Lately I've been working on a few Chopin pieces and noticing how little the classical composers worry about chords/harmonization vs. melodies/lines, or voicings vs. voices. They just worry about beauty. So sometimes you see voices moving, and one can think of the vertical construction on any beat in a variety of ways, a variety of possible "chords", if it has to be a chord. And they certainly don't feel obliged to put the root in the bass note. Of course it's no small advantage to be able to think about each note for as long as one likes before writing it down, a luxury an improviser lacks. Still I like to get to a point where I'm just playing what I want to hear, and not thinking too much about theoretical compartments. I suppose that's the ulrimate aim of all art (if that's not too bombastic a thought). Thanks again.
