Kent. You are becoming greater by the minute. I printed out the score from your website for Someday My Prince Will Come and I surprised myself by being able to follow your analysis note by note. Well almost. And I haven't dared to try it at the piano, yet. That will be a Herculean task for me, but I will try. I looked at the music before I heard your analysis and my first reaction was: what the Hell is Kent doing? Then moments later, I knew. I am not nearly as advanced as this but as an old English prof once told the class, your reach should exceed your grasp. God knows I am still reaching. I always look forward to your offerings on RU-vid, There's always something delicious there to tickle my musical pallet. Looking forward to your solo and the theory to go with it for this piece.
Your support and comment, and especially your encouragement are a blessing to me, Jackson. We head for the most eastern coastal point in the US tomorrow (Lubec, Maine) where I teach a 2 week jazz course for adults. Summer jazz....I love that concept. Thank you and keep swingin'!!
Kent, You are such an inspiration with your musical interpretation. It whimsically whisks us away to a haze of pleasure. Each note as you state leaves us longing. What will come next? I magically enjoy listening to all of your composure's with enlightenment. All the youth of the world should be compelled to enjoy your prose for the melodious. Keep them coming.
Great stuff Kent. More videos like this please! Analysis of your awesome take on standards. I'm trying to get to the level of solo jazz piano to play in hotels/lounges and this is very helpful. Can't wait for the solo
Thank you for the wonderful and knowledable tutorial!! Btw if You have the time could you please consider creating a tutorial for accompanying singers. I accompany people but I don't get the gist of sounding like the greats! Whenever I accompany it sounds monotone and rather mundane more than complimenting the singer Any tips or such to spice up singers and make it sound great? Maybe at the same time you could analyze Ella fitzgerald's "I've got a crush on you" early decca recording. This version is only piano and vocals. I really want to sound something like that! Thanks kent!
Thanks for a wonderful compliment, Maria. I believe a pianist's touch is very personal, and is a extent of their personality, practice, physical aspect, and outlook on life. Every person is different. My two favorite players for extraordinary touch are Bill Evans and Arthur Rubenstein.
True! I absolutely love Bill Evans, I love his touch, and all the great music he plays, he’s my favourite jazz pianist ever and I listen to his music everyday ‘cause it makes me feel amazing and in peace with myself...
Hi Kent, It’s probably been asked but did you make a Part 3? I can tell how much you personally love this song and your deep connection to Bill Evans, by the way you play it in these three videos of this song. Just as beautiful as he IMHO sir!
Hi Kent. You have been incredibly productive with all these great 2018 videos. I came back to this one and working on it. Really great and helpful analysis. I’m making progress watching everything. Thanks again
Maestro, I am terrible sorry for the miseries you are going through, the best I can send to you through the air is a sincere hug and a very macho kiss in your Pinky ! Greetings from Atlanta, Georgia.
Kent your website has been greatly improved! I really like how things are arranged now, and it is much easier for me to download scores, thanks indeed for the uploads.
Why do we cal sharp 9s what we do? Why aren't they considered b10s? Because as I understand it, a 10 is the major 3rd and octave displaced, right? So why isn't the F in a D minor chord considered a b10? Do we have three 9s? b, natural and sharp?
Also i couldn't find part 3 (said Emoj) but is it possible to write out 10 chorusses from simple to complex, That would be so great a help because your level is that high that the things that for you are normal, aren't that easy at all and we all know how difficult 3/4 are, don't we, For shure without a band?
Beautiful, Kent.... I was was worried for a while not knowing you were on vacation. Thought you might be having trouble with Alt D E M. Even so, I enjoyed the break and tried to catch up. So much for that idea. =) Welcome back and thanks for this awesome lesson.
I ALWAYS get a lot from your videos, Kent, even though many, like this one, are above my level. I always find something I can apply to the songs I am learning. Thank you so much!
Judy, all the scores that I have available are on my website under Free Music Downloads: storage.googleapis.com/wzukusers/user-26455100/documents/58e5cc9bc471bbQiYAeb/Someday%20My%20Prince%20Will%20Come3.pdf
Hi Again Kent could you help me out? There is a man Ed Saindon, he plays(I wrote you this befor (message in a bottle-idea!LOL) On Green Dolphin Street with maj7 aug super imposed on any chord as study, maybe you could refine this a bit??also the pentatonics that goes with those chords or are hidden in between the arpeggio of maj7 #5 chords are not that clear sometimes, the most I have worked out but there are a few missing pieces now and than!
I'd have to watch this video again to figure out what you're asking. Right now I'm trying to catch up on scores of comments and emails. Write to my email address, if possible.
Great lesson as always, Kent! Two takeaways: 1) I really liked the stacked diminished @ 11:30. 2) You reaffirmed many times in this lesson that it is indeed OK to omit the root voicing occasionally. (So--ADE man has gone to Newark to court ADE girl? I pray she's not one of the 'Housewives of New Jersey.')
Thanks Lucas, I like the sound of it on piano in that key, plus it's a better range for piano starting on middle C. The composers wrote it in that key and the early fake books had it in F. The "Real" books changed the key maybe because it was better for Bb and Eb horns. Most horn players call it in Bb. Bb puts the high note 2 octaves above middle C, either that or you're starting on F below middle C, good for tenor sax I guess
Jeffrey, yes, as in jazz ...go with the flow, find the natural rhythm of the horse, and feel that rhythm, and try to get in synch with the horse's beat (stride), match it, and compliment it.... as you would with a dancer. (what do I know?...I only rode a horse once)! Good luck!...I envy you; it's a great opportunity!
Kent, let's just hope it's a horse of a different color! It's owner is a clarinetist/saxophonist/bagpipist, so it probably has a Jazz gait, and not a Watergate!
