Pure gold. I just spent an hour tinkering with the diminished scale on the V chord. Lots of, "that SOUND, that's the sound I want, THAT SOUND!" moments.
Merci pour votre partage je viens de me prendre des cours de piano cette année et c’est très complémentaire de l’enseignement fourni par mon professeur. Vous êtes mon second professeur.
this is Gold for me! I always liked to write out solo's...to get certain devices more down..for instances maj7 shapes over any chord, or over Giant steps or specifically the b13b10 Triad BVI and #Vi over Dominant chords...
hey Tony! Greetings :)) Just have discovered this tutorial, fell in love with it! It was so so soo helpful for me. I was wondering if you could do new tutorials just like this on some other standarts in order to teach how to act on chord changes and be more fluent while improvising? ( maybe more advanced stuff, idk :D )
Tony ..they now put the next videos to come at the bottom on the video. I just watched the one on playing D blues over F . I could not see the bottom most notes on the screen. I'm sure others are having the same problem. Computers probably don't have this problem.
Great idea for solo composition Tony, using the dice! I may try this myself. I too love that last Peterson lick you played, could you transcribe It? Great videos Tony, really informative and useful advice on jazz piano. Thankyou.
Hey Tony, great video as always. I'm not sure if it's already been done so my apologies if it has and if so please direct me to it, but I'd personally find a video of managing your practice time really useful!
For me to understand jazz harmony, I need to know why you're adding a flat 9 to the G in a rootless voicing and playing the Gdim scale. Cause from a 251 standpoint, you're already altering the chord making it a 7. Do you *always* do this as a rule? Does the right hand always follow the chords (d Dorian, than G diminshed) not the key (C) with added chromatic flavor? *Why* are you choosing what you do. What are the unspoken rules to adding flat 5s and Sharp 9s and other augmented chords? How would you go about playing more than just chords in the baseline?
Hi Tony, thank you to help us with your fantastic advices. You are very good and I like the way you improvise, your runs are clear and beautiful. It's fun to know how the great experienced jazz pianists practice in their room. Now I have a big question: Can you tell me if it's a normal way to go even with great jazz pianists, to write some different licks each time when we practice a song that we will perform in a concert, or a song we want to play for ourself. or normally we should learn many licks and apply them in the songs we want to play? because I have tried to learn many good licks but I have not a good memory I think because when I want to apply them in a song I don't remember those licks ... :-( Do you have an advice to help me with that problem? thanks in advance and sorry for my bad english I am francophone from Québec, Canada.
just curious - at around 3:40 you ascend into the G7b9 chromatically using Bb as the first note of your scale. In my mind a diminished scale is Bb, Db, Fb, Abb, etc... and that what you are playing is (what I was taught ) a half-whole scale, right? Otherwise it's like you're outlining the G7 without a root with a repeated embellishment. I'm several years removed from theory and jumping back in so sorry if this is an elementary question.
your first lick I tried to alter the Tonic to Amaj7 then change it to Cmaj7, both on the after beats to pretend that the II V7 was a back door, i sthat good, or rubbish?
