Thank you Jeremy for teaching solo piano playing. Ballads like such are essential for technique development especially for solo performance. It opens a palette of vast choices for the player to decide what to use and what works. So, until the player has listened adequately over the years and acquired good taste and judgment (and practice), he/she is left with only one option, and that is to learn the pertinent stuff that is taught in music college curriculum.
This video is fantastic! You’ve earned a sub - my theory definitely outweighs my actual piano skills but this method is so practical and inmediately applicable, I’m confident it will help me immensely!
Super helpful! Can't really say why but somehow it complements the info in your (great) book. I just love the vibe and the feeling of these videos as well, they are somehow personal and not to "dressed up". So generous of you to just give all this for free, I feel I want to give you some money for it!:)
This might sound silly, but something I realized with your (really great!) system of Major chords having 1-3-7-9-5-13 available, or minor having theirs was a little hack. If it’s minor, avoid the 6/13. If it’s major, avoid the 4/11. Other than that, if your fingers are on a note within the scale of the key, you’re likely hitting a chord tone! Just spread your notes out and try to keep the root at or near the bottom. For some reason it’s easier for me to remember to avoid one note than to try to think of the other 6 available to me!
Really excellent for me if a bit ambitious. I'm a decades long jazz guitarist that just started piano and this is really providing some great insights. If only I had some technque!
Very interesting and kind of eye opening for me! I have mostly been thinking in terms of "pre learned" voicings when playing solo jazz piano and that admittedly makes the voice leading a bit clunky sometimes. I also have never heard someone say that you should try to keep the bass tone as low as possible at all times but that makes a lot of sense for the fullness of the sound. I have ordered your book and am waiting for it eagerly. Thank you for sharing your knowledge!
What a nice and thoughtful note. Thanks, Fredrik! Don't hesitate to let me know if you want some more guidance from me at any point during your journey.
@@JeremySiskind Just bought it, and I'm very impressed. I'm a sax player trying to level up my piano skills, and this will keep me very busy for a long time!
Wow, Great teaching. Very clear explanations and I like that you showed us the different ways that we can play the song. Can't wait to see what you'll be teaching on Piano With Jonny next week!
This is the best explanation I've come across -- for how to play the type of jazz I primarily set out to learn. Like some other posts, I think I got stuck in a rut with the trying to adapt the A/B aka rootless voicings to include the melody in my right hand, usually with a simple 1-5 or 1-7 in the left hand. From there, I might try to throw in the occasional So What or an upper structure. With this video, of course I might still use those voicings, but I think I now have a way better framework to go about it, using this process as a guide for how to choose alternate voicings, rather than just try to "throw one in" and hope for the best. Thank you Jeremy!
24:10 Im gonna steal that Eb run, and then the AbMaj7, and then the Db6 octaves stuff, then G7 run down into Cdim up 😁 Btw Erroll Garner must be pissed nobody ever plays the B section of his tune hahah
Thank you, Jeremy! Great information provided in a clear and concise manner. I look forward to purchasing your book in the future when my 3 year old daughter grants me a few minutes to practice...
Hi Jeremy - avid follower & fan of your videos here👋🏻 I was wondering if you also have a video on comping on a ballad in a band setting? I have not found any ressource online that addresses this topic from a conceptual perspective.
I sometimes play a C7#9 instead of the Cm7 which you show around 17:00. In fact, the song is played right before the Clint Eastwood directed film and the orchestra happens to play that same sharp 9 which I like just for variety's sake.
This was an amazing lesson and a powerful musical statment at same time. I have question, you said that there's no systematic formula for the voicing when applied to standards so how should I approach my studies should I drop the idea of learning voicing formulas like ''five Voice Shell Extensions'' found in books like ''Jazz keyboard Harmony'' or ''Voicing for Jazz Keyboard'' and focus only on your book or is there value in using them in conjonction with your book. As a bassist I'm trying to find the best way to avoid confusion. Thank you for your help !
I have to admit I don’t know the specific voicings you’re referencing. Voicing formulas are very useful for trio, quartet, or even duo playing. For solo playing, each melody note and shape has to be treated pretty individually if you’re going to get a really good result, so most formulas aren’t going to cut it. That said, as you dive deeper, you will see many common patterns that will arise, so it’s not as though you have to “reinvent the wheel” each time. I’m not sure that’s a clear or helpful answer...I think there are many ways to get to good voicings, but this one is the most reliable I know and I would be wary of any formula that didn’t take into account the melody note as well as the register of each chord.
Hi Jeremy. I'm wondering why you used a G-7 in measure 5 instead of the Ebmaj7, and a G7 in measure instead of the G-7 in measure 7. You know that I'm easily confused!!!!
@@JeremySiskind For sure! Very helpful to see the process in real time and how your thinking unfolds. In my view this is the kind of implicit knowledge that is difficult to capture in a book! This is the value of youtube videos to a large degree I think! Inspired to make an arrangement now again, working on playing Cole porter tunes atm, next it will be "everytime we say goodbye". Look forward to the next vid!
Hi, i love jazz but after watching a ton of videos buying and reading most recommended books and listening/ transcribing some solos i don’t see much improvement… is can play all scales and chords but it sounds so basic. I had many times that i want to give up because I practice all the time but still cant play any tunes well. Its like im always practicing but when it comes to tunes i seem not to get there… how did you deal with overwhelm? And did you had difficulty on your path as a jazz musician? Did you had times wanting to give up ? 🤷
Hi Richard! That's a big question! Without really knowing you or your practice routine, it's impossible to really answer it, but I can tell you that the most common problem I have is students trying to do too much too quickly. I think the language-learning metaphor is really useful here. You wouldn't expect to be able to speak French fluently after one semester or even one year of study. Bite off very small pieces, have small goals, and trust the process. Make sure you're working on training your ear as well as your technique. Go slowly, write things out. If you can get any kind of small coffee shop gig to force you to play without stopping, that's one of the best ways to learn - either solo or with others. Find a community of learners that will challenge and support you. Good luck!
Hi Jeremy! Can you give the link where I can buy your book? I’m at intermediate level, where can i start in order to strengthen my jazz theory. Many thanks 🙏 Jeremy!
Thank you Jeremy for teaching solo piano playing. Ballads like such are essential for technique development especially for solo performance. It opens a palette of vast choices for the player to decide what to use and what works. So, until the player has listened adequately over the years and acquired good taste and judgment (and practice), he/she is left with only one option, and that is to learn the pertinent stuff that is taught in music college curriculum.
Great point, Michael! I think we can all learn and be expressive simultaneously.
This video is fantastic! You’ve earned a sub - my theory definitely outweighs my actual piano skills but this method is so practical and inmediately applicable, I’m confident it will help me immensely!
Thanks so much! I hope you enjoy the other videos here!
Super helpful! Can't really say why but somehow it complements the info in your (great) book.
I just love the vibe and the feeling of these videos as well, they are somehow personal and not to "dressed up". So generous of you to just give all this for free, I feel I want to give you some money for it!:)
No need! I’m glad you like the video!
This might sound silly, but something I realized with your (really great!) system of Major chords having 1-3-7-9-5-13 available, or minor having theirs was a little hack.
If it’s minor, avoid the 6/13. If it’s major, avoid the 4/11. Other than that, if your fingers are on a note within the scale of the key, you’re likely hitting a chord tone! Just spread your notes out and try to keep the root at or near the bottom.
For some reason it’s easier for me to remember to avoid one note than to try to think of the other 6 available to me!
Yep, I think you've got it, Colton! I'm glad you got a good system down!
Really excellent for me if a bit ambitious. I'm a decades long jazz guitarist that just started piano and this is really providing some great insights. If only I had some technque!
Cool! Best of luck to you on your piano journey, Jim!
Very interesting. It's nice to be able to see the used notes when you are writing them. The harmonies sound good. Congratulations!
Awesome! I’m glad it was helpful!
Very interesting and kind of eye opening for me! I have mostly been thinking in terms of "pre learned" voicings when playing solo jazz piano and that admittedly makes the voice leading a bit clunky sometimes. I also have never heard someone say that you should try to keep the bass tone as low as possible at all times but that makes a lot of sense for the fullness of the sound. I have ordered your book and am waiting for it eagerly. Thank you for sharing your knowledge!
What a nice and thoughtful note. Thanks, Fredrik! Don't hesitate to let me know if you want some more guidance from me at any point during your journey.
Superb Jeremy. I was already considering buying your book, but this video convinced me. Excellent teaching
Awesome, Chris! Thank you!
@@JeremySiskind Just bought it, and I'm very impressed. I'm a sax player trying to level up my piano skills, and this will keep me very busy for a long time!
@@chriswright2553 that makes me so happy to read, Chris!
Wow, Great teaching. Very clear explanations and I like that you showed us the different ways that we can play the song. Can't wait to see what you'll be teaching on Piano With Jonny next week!
Yes, I always look forward to my PWJ hangs! This should be fun!
Just when I thought your videos couldn’t get any better. Wow.
Thanks, Greg! You're watching out of order, so it's you making the good decisions more than anything! 😂
Brilliant lesson Jeremy! Thank you.
My pleasure! I’m glad you liked it, Lewis!
This is the best explanation I've come across -- for how to play the type of jazz I primarily set out to learn.
Like some other posts, I think I got stuck in a rut with the trying to adapt the A/B aka rootless voicings to include the melody in my right hand, usually with a simple 1-5 or 1-7 in the left hand. From there, I might try to throw in the occasional So What or an upper structure. With this video, of course I might still use those voicings, but I think I now have a way better framework to go about it, using this process as a guide for how to choose alternate voicings, rather than just try to "throw one in" and hope for the best.
Thank you Jeremy!
Yay, I'm so happy this helped you, Jim! Let me know if you have any questions!
Thanks Sir Jeremy! 🤗 We are Grateful...🙏
It's my pleasure! Thanks for the comment!
24:10 Im gonna steal that Eb run, and then the AbMaj7, and then the Db6 octaves stuff, then G7 run down into Cdim up 😁
Btw Erroll Garner must be pissed nobody ever plays the B section of his tune hahah
I usually play the B section...just didn’t have time to get to it in the video. Feel free to steal anything you like! :)
This is a great video! I already bought the book on AMZ before I knew about this channel. Excellent!
Awesome! Thanks for check out the book and I hope that the channel adds value to the content.
So cool. Wow. Lots of careful description of how to do this and many great-sounding options. Thanks.
Brilliant teaching. Thank you Jeremy!
Thanks! Glad you liked it!
Thank you, Jeremy! Great information provided in a clear and concise manner. I look forward to purchasing your book in the future when my 3 year old daughter grants me a few minutes to practice...
Haha, you might be waiting a few years... ;)
Hi Jeremy - avid follower & fan of your videos here👋🏻 I was wondering if you also have a video on comping on a ballad in a band setting? I have not found any ressource online that addresses this topic from a conceptual perspective.
I currently don't but this is a good idea and I'll add it to my list!
I hope your materials will help me with my confusion with the jazz theory.
I hope so too! If you need more basic jazz theory training, my book "Jazz Band Pianist" starts you with chord basics too.
Thank you 🙏 very much Jeremy. I will purchase them straight away. You’re doing such an excellent job helping musician improve. God bless you!
I sometimes play a C7#9 instead of the Cm7 which you show around 17:00. In fact, the song is played right before the Clint Eastwood directed film and the orchestra happens to play that same sharp 9 which I like just for variety's sake.
That absolutely works as well!
@@JeremySiskind Yes, countless possibilities because the song lends itself to that.
Thanx, Maestro 🌹🌹🌹
Thanks again 😎
Sure thing, Theo! Stay tuned! :)
Great teaching Jeremy, and demo on style application- like the advice to write it out with the 5 notes. 😁🎹
Thanks! Yeah, it's way too much mental math to do to come up with the voicings in your head at first.
Great lesson!
So glad you liked it, Jerome!
Thank you
Thanks, Pantelis! I'm glad you liked it!
Well done!
Thanks, Marilyn! Now get back to practicing your push-offs and sidesteps! :)
Ever play that opening chord as a Ebminmaj even though it might have a jarring effect on the people you play it to?
Sure (or an Ebdim7), but then I'd probably resolve it to Ebmaj7. :)
Great lesson! I like to see video of you harmonizing the melody in diffirent ways. Ill buy your book if you do that 😃. I probably buy it anyway.
Lol, I’ll do anything for a sale! But I’ll add this to the list of videos.
Outstanding !
What is the name of this piece/song that you're playing ? It sound beautiful and I would like to learn playing it :)
This is “Misty” by Erroll Garner.
Brilliant lesson and information! thank you, What software do you use with your apple pencil?
Thanks! I’m just using ForScore - it’s not what it’s designed for...but it works!
Great instruction!❤ Is there more on color tones?
You might like the video I just posted. czcams.com/video/eO9-coEbQK8/video.html
This was an amazing lesson and a powerful musical statment at same time. I have question, you said that there's no systematic formula for the voicing when applied to standards so how should I approach my studies should I drop the idea of learning voicing formulas like ''five Voice Shell Extensions'' found in books like ''Jazz keyboard Harmony'' or ''Voicing for Jazz Keyboard'' and focus only on your book or is there value in using them in conjonction with your book. As a bassist I'm trying to find the best way to avoid confusion. Thank you for your help !
I have to admit I don’t know the specific voicings you’re referencing. Voicing formulas are very useful for trio, quartet, or even duo playing. For solo playing, each melody note and shape has to be treated pretty individually if you’re going to get a really good result, so most formulas aren’t going to cut it. That said, as you dive deeper, you will see many common patterns that will arise, so it’s not as though you have to “reinvent the wheel” each time. I’m not sure that’s a clear or helpful answer...I think there are many ways to get to good voicings, but this one is the most reliable I know and I would be wary of any formula that didn’t take into account the melody note as well as the register of each chord.
@@JeremySiskind Thank you a lot for your answer and for your book on this topic !!!!
Hi Jeremy. I'm wondering why you used a G-7 in measure 5 instead of the Ebmaj7, and a G7 in measure instead of the G-7 in measure 7. You know that I'm easily confused!!!!
Wow excited to see this!:)
I hope I did it justice, Ernst! :)
@@JeremySiskind For sure!
Very helpful to see the process in real time and how your thinking unfolds. In my view this is the kind of implicit knowledge that is difficult to capture in a book! This is the value of youtube videos to a large degree I think!
Inspired to make an arrangement now again, working on playing Cole porter tunes atm, next it will be "everytime we say goodbye".
Look forward to the next vid!
Very very nice videos man !!
Thank you, Hernán! Glad to have you as a part of the channel!
@@JeremySiskind Sure ! my pleasure. Subscribed !
great!!
Thanks so much! I’m glad you liked it!
Hi, i love jazz but after watching a ton of videos buying and reading most recommended books and listening/ transcribing some solos i don’t see much improvement… is can play all scales and chords but it sounds so basic. I had many times that i want to give up because I practice all the time but still cant play any tunes well. Its like im always practicing but when it comes to tunes i seem not to get there… how did you deal with overwhelm? And did you had difficulty on your path as a jazz musician? Did you had times wanting to give up ? 🤷
Hi Richard! That's a big question! Without really knowing you or your practice routine, it's impossible to really answer it, but I can tell you that the most common problem I have is students trying to do too much too quickly. I think the language-learning metaphor is really useful here. You wouldn't expect to be able to speak French fluently after one semester or even one year of study. Bite off very small pieces, have small goals, and trust the process. Make sure you're working on training your ear as well as your technique. Go slowly, write things out. If you can get any kind of small coffee shop gig to force you to play without stopping, that's one of the best ways to learn - either solo or with others. Find a community of learners that will challenge and support you. Good luck!
@@JeremySiskind oké, thanks for replying and reminding me about the language metaphor!! I know it takes time maybe indeed i want it to quickly…
Hi Jeremy! Can you give the link where I can buy your book? I’m at intermediate level, where can i start in order to strengthen my jazz theory. Many thanks 🙏 Jeremy!
Of course! You can buy hardcopy in the US or PDF from anywhere from my site: www.jeremysiskind.com/shop/
If you want a hardcopy outside the US, you can get it from amazon.com
Do you have any Study for beguinners
Jeremy.
Hi Pedro! I think my book, "Jazz Band Pianist" is pretty good for beginners. It goes over the basics of chords and voicings.
As far as videos go, I think these two are good: czcams.com/video/Fg_W-t_WBBc/video.html and czcams.com/video/PTcLSCGXc_Y/video.html
You only look like a little guy but you seem to have a big span with your hands, especially the left for playing 10ths?
My hands are decent! I can reach many tenths but not all.