Triads to Melt Faces
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- čas přidán 21. 04. 2022
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#triads #jazzpiano #jazz #jazzimprovisation - Hudba
I'm a guitarist and this really opened up a whole new way of looking at diminished scales. We tend to be "patterny" as guitarists. I never "saw" those 4 major and minor triads.
Adam thank you so much! This is a revelation. You decrypted the functional beauty of the diminished scale for me. What a gem this video is! What a treasure trove your channel is. Many thanks and love to you guys :)
I love the idea of learning scales in their context of resolving to something, instead of just scales by themselves.
This is awesome. Guitarist here, this channel has offered me consistent new ways to hear and visualize chord patterns options and voice leading movement. Thanks so much.
I absolutely LOVE when you break the fourth wall!
You already know what the student is thinking or rather assuming you should do to apply this scale!
Every time he said “so, all we have to do now is…”, I was like, “Yeah! That’s what I’m going to do!” And then, he would say, “No…that’s not what we want to do…” man, I’m a sucker.
😅
For someone like me who no longer plays jazz in a live setting but continues to listen and learn, this has been MIND BLOWING!!!🤯🤯 This is truly a jazz improv/theory gem! I’m getting out my 🎺 and getting back in the game with your channel for real!
Definite missing gem with this one. Thankful for social content platforms and amazing teachers like this to help fast track debunking unsolved music mysteries. For veteran cats like me these fresh simple perspectives glue together years of fragmented and missing puzzle pieces.
Thank you sir.
Amen
As loath as I am to give up the secrets of Chromatic button accordion (you know, the non-piano right-hand that looks like a cash register), the brilliant thing about the layout is that those rows of buttons are the 3 diminished 7th arpeggios.
So long story short, every one of these triad pairs, for all keys, can be done on CBA accordion using 4 triad shapes, simply sliding up and down the keyboard.
The instrument almost seems to be created with this (not to mention most of Barry Harris’s teachings) in mind.
And this video was a life saver for me because I was still restricting myself to the diminished scales, which , while still easy on CBA, aren’t nearly as musical as these.
THANK YOU!
As a guitarist, I had this scale under my fingers, but the way I used it sounded so contrived and obvious, like the whole tone scale. Thanks for opening these doors.
How to harmonize the diminished scale has long been a mystery for me- Thank You Sir!
Aside from the great lesson, the "writing", i.e. the light comic tone, is beautiful. Now I gotta practice this stuff! Keep my home town safe for jazz, guys.
1:13 that shift to the up close shot with the 100% REAL dialog is where its at. I would love to see more cuts like this where you and peter are being 100 with us. LOVE THIS!
Bro, imma be honest I got my bachelors but this was a masterclass man...I didn't understand it to this depth till now, Thank you so much!
Whoooaaa never knew diminished can be soooo beautiful and still easy to understand, one of best diminished lesson ever, thankyou so much
I love how easily you break down the content vs. the function. Showing practical examples of how soloists think is crucial for student development especially if they have an ear for sound already
This is by far the best vid/tutorial I've seen on the diminished scales. You opened up the secret of applying them effectively. Much appreciated. Thank you.
This is some of the best music tuition I've seen on CZcams, absolutely phenomenal lesson 👌👌👌
The best tips for diminished ever ;-)
This video connects these ideas here with George Garzone’s ideas about the chromatic triadic approach
Young Sir
Most excellent from someone much older then you.
You've got a very bright future.
Thanks for sharing.
Lol.
One of the joys of music is that we can never know it all, but we can continue to learn forever.
Smile.
Sir Adam thank you.
Merci beaucoup ! Quel cadeau! Thank you so much ! Such a great gift!
What an angel you are. Thank you
Along with so many others, I want to thank you for this incredible information. I have never really understood how to use the diminished scale tones outside of a diminished (or 7b9) chord and what you teach here is so cool! Thank you, Adam!
Years ago, I discovered these dominant 4-noters to remember diminished scales…. Very helpful, Adam! Also loving the major minor triads.
I am very gratefull for your lessons. Greetings from Poland!
I learned the diminished scale and used it a lot over the years but… I never really studied the magic of it’s chordal content… that’s what makes this video fantastic! Thank you for this wonderful lesson!
Nice Adam! I really love the major to minor triad pair sound. Keep up the great work!
Michael brecker at Newport jazz festival ❤️❤️
Thanks for clearing away the diminished debris. Gold!
you have one of the best mthods for teaching on here! love your work!!
Absolutely loved this lesson Adam! And that Rhodes tone just wow
This is a wonderful reference and resource. The tritone sound it releases is the best.
Awesome stuff Adam
Thank you for sharing your knowledge 🙌🏼
This was awesome. I love using diminished triads.
Whoa, truly the most mind-blowing (face-melting) one of these in a very long time, and they're all super dope!
Impeccable explanation. So happy to have found your content
The editing is great in this video.
Awesome Adam!! 7 STARS!!!
Video production, content, humour, Rhodes, everything perfect!!! Thank you :)
I really like thinking of this as a dominant resolving to its tonic; makes much more sense to think of this functionally.
Brilliant, my friend. You've taken me into new tonal territory. Thank you.
This is a great reframe for dim scales. Can’t wait to get home, shed and shred!
You're a bloody genius mate
This is amazing. Being able to crystallize the theory to make it practical is such a huge help. Also, the video editing is great in this.
Within 90 seconds, you both brought up & wonderfully explored a concept that so many people don't get - there's not two diminished scales, there's just one symmetrical-shape scale that adds context to the music that's there (technically 2 exist in 12TET A440 temperament, but the shape is always the same)
People think of the dim scale like it's dissonant but it's more of a game-changer - nice major stuff becomes nightmare music, whereas the right dominant chord becomes heaven with I
Every other scale becomes wildly different things when split into modes - do that with the dim scale and you just get the dim scale (same with whole tone btw)
I've always found the concept of triad pairs quite nebulous but this makes it much easier to understand - thanks for this video!
Thanks!
Works nicely with the altered scale as well.
Your channel is amazing. I love the way that you layout concepts that I’ve “known” about in refreshing(and familiar sounding) ways. I’ve been watching for about a week now, and I’ve encouraged my own students to explore it more deeply.
Thank you for introducing me to Barry Harris. Somehow, I went to Jazz school and never heard his name. I’ve been delving into the video archives.
Keep groovin’ ✌️
Simply Amazing!!!! Nothing else needs to be said.
Thanks to you, I can easily understand things that I cannot understand. thank you with all my heart...
melt melt :-)
This is sooo informative and then also FUN to watch! I'm super happy to have found this resource and i'm considering taking the course!
This is pure gold Adam.. Got me started
This video is amazing! I think it takes the right approach on how to learn music in general and shjould be used as a gold standard
an eye opener - love it. thank you!!
Next level presentation!
Great lesson!!! Huge thanks for that 🙏🏼🙏🏼🙏🏼
This is the best educational music video I have seen in a long time! absolutely love this!
As a country player that learned theory the hard way while playing and still building lots of finer details of theory, understanding how jazz theory is utilized is amazing for playing.
I can't stand talk about dominants and substitutions and so on, I just want to know how to use intervals well and how those face melting bebop solos actually work over scales while sounding like they're being completely random.
Thank you very much Adam.
Thank you, Adam. this is very very helpful. greetings from Argentina
Oh yeah ! this is amazing sounds great on guitar
Wtf my mind has been blown - gonna be using this all the time
Amazing tutorial. I never really understood how to start to use these scales before. Great explanation looking at how they function over a dominant chord, really excellent.
Thank you a million for sharing this!
As a guitarists you are beginning to give me ideas
What a great lesson - thank you!
Thank you, Maestro!
Wow, really awesome lesson ... very practical...thanks!
So excited to pratice this concept, gold info. thanks for putting it toguether so nice!
Ah yes thank you! (I'm just starting to pick out the diminished chords and scales on the fretboard, i really like your way of thinking in terms of these little dominant cadences! Nice way to break it up and not, as you say, clinically climb up and down!)
Excellent, excellent work in so many ways. Thanks, man :)
Amazing lesson 👏👏👏
Very easy on guitar too. THANKS!!!! 🏁✔🎼🎸🎶
Adam, this is great stuff..thanks so much !
Love your new setup
Great lesson. Thank you!
On the third listen to this I went from "yeah so" to "holy crap, this blows my mind". Wow.
Some great insight into diminished chords.
Hey man, such a great way to teach this material. Thanks for the videos!
I love this channel!
Very helpful insights! 🤘
really good insight, and well presented
Absolutely flames 🔥
Thank you Adam!
An interesting approach.Always like your videos. Another method is to not even think about the diminished scale at all and to just see it as (in this case) an F7 dominant scale with the scale degrees 1-b2-b3-3 #4-5-6-b7-8 . This way one can see how close it is to a blues type approach with a couple tweaks. A little off topic. I see many books talk about two diminished scales (1/2 step whole step or whole step 1/2 step) and it always seemed to me that it was easier to think of it as one scale starting on a different degree.
You can justify the 2 notes of the diminuished scale which are not in blues scale (b2 and 6) just by considering 2blues pairs at the distance of a minor 3rd (i.e. A + C blues scales). Then you'll have your complete A or C diminuished scale
@@tetraqartet6798 The 6 is part of many blues like 1-3-5-6-b7-6-5-3 . The b2 can be used in a displaced minor blues lick like this: 5-b7-8-b9(b2)-8-b7-5
Wow Adam. Thank you!
Yooo the quality of the video itself is even getting better I love this!@
Haha, right when I said... got it! Adam hits the side camera lol.
Amazing lesson.
You re simply the best!
Thanks very much Adam.
Couldn't play along because its too early. Will do a little later today. I don't usually play exercises like these, but this seems like a good way to get these under my hands. I least I could follow it conceptually and by ear. Thanks!
this is a great video! well done!
Hey Adam. Gracias por la explicación. Impresionante conceptualización. Por eso la universidad ahora es Universal.
fantastic video! Wonder if you or any folks here have suggestions for effective ways of learning in all 12 keys. It seems to take me a long time to move into another key and repeat the ideas. Eventually I want to be able to just think in terms of where I am relative to the root, but I'm not sure if the snail's pace I go to figure these all out is worthwhile. A potential strategy: use a software like MuseScore to transcribe into different keys, then play them to get into muscle memory, later making more "intellectual sense" of what I'm doing. Grateful for any ideas. Maybe it is best to just do it the "hard way" that I mentioned, and perhaps write down what I played so that I can return to practicing new keys?
Thanks to you and Peter for all the Podcasts and Videos. I enjoy them and they are very helpful! I have a request: how would each of you take on practicing the odd changes to Dizzy Gillespie's "Con Alma"? I can hear a walk down but the changes just seem odd yet beautiful. It's a great tune and I'd like to play it more often, but I seem to get in a rut. Any help is appreciated. Thanks and keep up the great work!
Excelente! me encantó esta explicación!
WOW WOW WOW WOW WOW WOW I was right on the cusp of really being able to improvise with the diminished scale. I could easily hear the jazzy sound of just the scale. But what you’ve explained here is so simple yet very profound. Thanks for the explanation. You’ve made it easy now just have to get it under the fingers
Great presentation