Basic Triad Voicings Every Pop Pianist Should Know
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- čas přidán 13. 06. 2024
- Adam Maness has got the secret information and thankfully, he is willing to share these tips.
➡ Free PDF Chord Progression Guide: openstudiojazz.link/popPDF
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Hi Adam. Can you do a full course on Pop Piano playing? Really love the modern pop sound!
Thanks so much, I learned a lot!
I’m so glad I found this video! I am a saxophone player and I write a lot for small and large jazz ensembles. Piano parts have always been a “mystery” to me but this is REALLY going to up my game when it comes to piano writing! Thank you so much!
8:37
Adam: Isn't that just a major 7th? Yes it is nerd.
Me: Instant thumbs up.
i came here to learn but i got my lunch money taken
Thank you Adam! This was an absolutely great presentation and piece(s) of knowledge. Gracious of you for the FREE pdf from which to practice from.
This is a ballad singer's gold!
Great deal of useful information packed into this video-all clearly explained and further enhanced with the relevant charts. Excellent teaching skills. Thank you.and thanks also for the PDF. Have just subscribed to your channel .
Great fundamental information to learn in every key! Great teaching Adam!!
I have been playing a bunch of Beatles tunes recently and their music is just GREAT!! Even for jazzers, you gotta love it. Yes some of their tunes are basically 1,4,5, m6, but a lot of their tunes use 7th chords, sus chords, non diatonic progressions.....they were something else. I love how you cover the bases for all levels of Open Studio peeps. Thanks.
april the Beatles for great melodies and slipping in a blues chord where you might least expect it.
Best video on simple triad voicings. Thank you Adam
13:41 One reason it's better to double the root, when the 3rd is your bass note, is that if you play the 3rd as the bass, and then double that note as well, people tend to assume it's the root of the chord.
What an amazing video!!! Thank you so very much for this
Thank you, very good explanation!❤
Really great video. So many more options that I had never considered.
Thank you, this is great! I wrote in inversion markings on your PDF and quickly realized the symmetry of this progression. (Ex1. Root, 1st, Root, 1st) etc. There are never more than two alternating inversions in the first six examples. This makes transposition much easier for me.
Damn this is definitely a sound I've heard done and nice to know there's somewhat a method to the madness. Thanks!
a big thank you for this great video which I found very very useful on all the neighborhood notes..thanks again
Gentle thoughts is one of my favourite herbie tunes!!
Thank you for this video 👏🏻
This is an incredible valuable video, thank you very much
Love it !!
Love the 'neighbor' notes.
Adam, Outstanding lesson. As one of the other comments asked, Is there a pop course in Open studio or other youtube similar lessons? Thank you!
Merci beaucoup.
Thanks
Herbie intro! love it!
Gentle Thoughts is my jammmmm
Thought I recognized it. It’s no ‘secret’ that it’s a great tune
maybe this is point is coming after minute 13 but doing ONE approach for first four bars and a SECOND approach for second four bars = an endlessly pleasurable 8-bar (ridiculously loopable) techno progression :)
.......pissed my pants laughing " your better than this".....pretty much how I feel when I sit behind the keyboard in the morning lol....
Nice Adam.
Hi Adam - the pdf file link no longer works. What is the new link please?
Could you make the pdf available once again?
is the PDF still available for this exercise? i never got an email with the link and it's not listed in the GPS on your website...
I remember you guys talking about being careful with doubling notes when voicing richer harmonies. Is that something you don't need to worry about when voicing triads?
can you explain to me i like to know
doubling emphasizes the note. you can't play a triad in the right hand without doubling something in the bass. The root is the most commonly doubled note. You can just play double stops in your right hand if you want, but you'll get a less full sound. They say "play to the sound." So if you are playing piano for a very dense mix, it might make sense to just use double stops in your right hand. If the piano is the main accompaniment for the piece, though, to express the harmonic rhythm, maybe it makes more sense to have a fuller sound? It is always an artistic choice...basically what they say is "just be deliberate and thoughtful about it. You have options, use them." That goes with the opening skit -- moving forms and voicings around is an effect. It's not good or bad. But don't do it just because that's all you can do. It's like the voice leading equivalent of always playing soft or always playing loud. Learn some of the more subtle transitions. It gives you much greater expressiveness and allows you to explore more nuances in the song with voice leading.
14:35 should there be a rule that says if you start playing Let it Be you have to finish at least the first cadence?
DANK channel bruv #100
That intro, that's the face of "why are we still here"
Adam ! I Love You.... keep the beard .... & the hat .. 😁
Voicing 3.4 sounds like a quartet composition.
Nce
Basically it's more or less the same practice of Basso Continuo realization.
Found the nerd! 🤓
@@javierolmedo4927 😃
"You're better than this" lmao
Poor Alexis -- why can't you just let her be?
I know this video tries to embrace the simplicity of pop harmony, but really, I think Adam just ended up proving that triads are boring 😆 Once the chord qualities start to get alerted, everything starts to breathe!
idk, bill evans uses triads to a great effect czcams.com/video/P0FIsFD9MXU/video.html more of those voicings than one thinks are actually triad voicings with really nice voice leading
thank you, it helps a lot
a big thank you for this great video which I found very very useful especially the neighborhood notes..thanks again