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Congratulations for the idea and the content. I think this may be the best video series on the channel. As an idea, I encourage you to include different styles ( salsa, bossa nova, ballads,etc.) in the new standards that you work on. As always thanks you for your effort we appreciate it very much.
One Question. This is a brilliant exercise and your playing is superb. I noticed that your left hand fingering is constantly 5421 (meaning your left middle finger is unemployed in this piece) whereas I thought it is often taught to play 5321right? When I play your 5421 I feel strain in my hand maybe behause I'm not used to it. The changes from measure 3to7 work indeed a lot smoother though. Now I dońt know how to proceed. Should I relearn my chords to 5421?
I don’t know why THIS happens…. I have been playing for decades and I love hearing Jazz. I mean, I love be-bop, cool, modal, electrocoustic etc.Whenever I take an interest in playing jazz my enjoyment decreases and I keep hearing the sevenths, deflating the sound and having a stale experience. In short, the mystique of the music fades. I do not enjoy it as much. I can learn a comparatively easier song from, let’s say, The Buzzcocks and still hear as alive and happening. I love the sophistication of the music. I have had the fortune of gaining a large audience and getting more skilled. I don’t know….I would love to maintain my love of the music while learning to play it well. Ideas?
I think in some way that happens to all of us. Like learning a magic trick, once you know how it’s done something is gone. In a way we’re killing the magic for ourselves, and we become less important in the equation. The audience still enjoys it. But I would say in Jazz, when we improvise (not when we play an entire memorized piece) we have the rare opportunity to be part of the audience as well, because the music is being created right there. It’s a really good question, and I’m sure some of us suffer more of that “magic killing” than others.
Question: I'm still learning to understand extended chords (anything past a seventh) so I may be missing info, but why is the 5th measure at 5:00 in not labeled a Cm9?
In jazz we usually don't write extensions unless you want indicate modifications to the chord. Cm7 implies the 9th. A C7 implies 9 and 13. Some books like to add those, but it's messy in my opinion.
Forget, that it is an F. That's the point of that measure. The bass-line created is stronger than the chord in the chart. BTW, we are not ignoring the chord, a G is the 9th of the F7 and it belongs to the mixolydian scale that pairs with the F7.
Hello John. I don't know if I can download the pdf with the membership level I have. I'm looking for it but I don't see it anywhere, I don't know if it's available or not. Tell me something please. Thank you
There's only one level of membership. If you are member you will see a MEMBERSHIP tab in our channel's main page. All the posts there will take you to a webpage where you can download all the active PDFs (Aug-Sep at the moment)
