PARADIDDLES, PENTATONICS, & 'PLAYING OUT' OF SCALE
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- čas přidán 1. 08. 2013
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LESSON NOTES:
In this lesson I show you how to play paradiddles on piano. Normally paradiddles are played by percussionists, but they sound just as good on a piano. They add a nice percussive flavor to your piano playing.
Start by composing a simple melody in the right hand - picking out notes from the scale you're in. Paradiddles work best in straight time (not swing) - so just play 8th notes, and make sure you leave some rests in the melody.
Next, with your left hand, choose a chord voicing you like, and fill in the gaps of the melody.
Start off really slowly - it took me a fair bit of slow practice before I could start speeding these rhythms up.
Pentatonic scales can be a good place to start when selecting notes for your melody. I refer back to my lesson on pentatonics:
Over a minor 7 chord, you can play a pentatonic built off the 4th scale degree.
Over a major 7 chord, you can play a pentatonic built off the 5th scale degree.
This works out nicely in my Justin Timberlake cover - allowing me to play an A pentatonic scale over both the E minor 7 chord, and the D major 7 chord.
Playing out - to make things even more exotic, you can switch to an unrelated key for a short time. Make sure you start by playing in the scale - then go to a new chord / scale of your choice (with as many notes different to the scale you were in) - then come back into scale to end.
At the end, I play the melody in 4ths - basically just doubling the melody down a perfect 4th (down works better than up).
To watch my full 'Suit & Tie' jazz piano cover, click here:
• 'SUIT & TIE' - JAZZ PI...
To watch my tutorial video explaining Pentatonic Scales click here:
• Insane Pentatonic Jazz...
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Thanks for watching!
Julian
Thanks Doug! Really pleased to hear this lovely feedback, glad these help!
Thanks! I try to keep the style & fonts evolving, glad you noticed!
Thanks Bj! Really pleased this one was up your alley. I'm sure your left hand will become the new right :)
This technique is greatly used in Cuban music. Cuban an Latinamerican musicians are masters of this. Try using octaves and even full chords on your right hand and it will sound even better.
Thanks Star Bluez! Appreciate hearing this
nice techniques!! i´ve played with your methods. amazing!
Very helpful!! Thank you!!!
You have a very clean sophisticated and yet unpretentious nor jive sound...you always successfully skate that fine line beautifully and I enjoy listening. Kudos!
Very clear and concise style of teaching. I like it very much!!
Thanks James, glad to hear this helps! Let me know if you post a video of your playing :)
Great lesson !
Thanks Julian
Love your videos!
I will be doing a lesson on bitonality / polytonality soon - going to be announcing my 2nd youtube channel where I'll be covering interesting music theory like this, not specifically jazz. Will be announce very soon!
Great as always, Gracias
This is what exactly I'm looking for! Thanks!
Thank you so much!!!! Really this is incredible, maybe I'll make a video based from your tutorials
It's worth noting that although 'paradiddle' refers to a specific rudiment, it also is a general word applied to stickings that are made up of a combination of singles ('para') and doubles ('diddle').
the new layout is pretty cool!
great one!! when you play it looks very simple but it isn t!!!!!thanks and more of this!!!all night and day!!
Very nice video! I've been trying to incorporate drum rudiment ideas into my guitar playing but it looks like its easier to do on piano. If you want to get super fancy with the paradiddles, come up with an 8th note paradiddle pattern in the left hand with maybe a chord but alternate between extensions while playing a melody in the right hand with a 16th note paradiddle pattern using scale tone or arpeggio sequences. similar to a drummer playing a 8th note paradiddle with his feet and 16th note paradiddles with his/her hands at the same time. Not easy to do. Also if you play in a slower tempo, instead of just playing a paradiddle, you can play a flam-paradiddle or a single dragadiddle. drummers also learn paradiddles starting on different notes so there is actually 3 ways to invert the paradiddle and they all sound different.
When playing out of key, I look for keys (scales) that have as many different notes as possible. So if I was IN C major, I might play out to Db major, or F# major for example - both have a lot of different notes to C major.
In the 'Suit & Tie' cover though, I was playing out between D maj 7 and E min 7, so I looked for a scale that had a fair amount of notes different both to D maj AND E min. I thought the Bb lydian-dominant scale was a good compromise - had some notes different to both chords.
AMAZINGGGG^^
Excellent music tools.....Thanks Julian!!
Doug G in LV
Busts rhymes!
My friend, i love your lessons ! I'm bass player.
Busting the Jazz secrets one by one! You'll have the Jazz Police after you next! ;) Great content and great style - thank-you!
I love you man!!!
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nice, some right hand slide slipping would be nice-- that is, for a brief moment move the right hand improvisation up 1/2 step (in key) while maintaining the original key in left hand and in background music. Commit to the modulations for brief moment, then return right hand to original key. thanks for sharing.
Nice!
I'm trying to tell if you're using true paradiddles anywhere in there, i.e., RLRR LRLL, but I haven't seen them yet.
Could have a lot of applications, including in swing time. E.g., using the paradiddle pattern (and not nec. between the hands) on the 8th-note trips would give a line a deeply syncopated feel.
Other drum rudiment patterns would prob. be cool too. Eg. the double-paradiddle: RLRLRR LRLRLL would work in swing as 8th-note trips, in straight time as 16ths, & in 12/8 as 8ths.
I forgot to say - lots of slow practice first!
I've been playing in a wedding band for years and I still learn a lot from your videos. Thanks a bunch and keep up the good work!
Do you play with a band I would like to hear you what band or what group of people are you playing with thanks
Am just starting to explore your fabulous videos. Firstly . . . A big "thank you" for sharing you priceless knowledge for free. I wonder if you would mind helping beginners by grading your videos with a simple notation system so they can hone in on the material via a pathway from more simple to more complex concepts? I'm enjoying routing through all of your material, but I sense it might all gel more quickly if it was graded in some way? Am just away to download your publication on jazzhero.com. Am well and truly hooked.
Bradley sir
I m not getting how the d major chord will work with a pentatonic scale will it match
Because A pentatonic scale does not have d note.
Notable: A penatonic is also consonant over A7, meaning that you could use A pentatonic over a ii-V-I in D major and it'd sound okay. Personally, I'm not that big a fan of the C# over the Em7. Not 'never', it's just jarring and should be used sparsely IMO.
Why the Bflap? Why him speificifically?
B flat dominant has two or three leading tones to the E minor scale. This causes the chord to want to resolve to E minor. To include, B flat dominant has some of the same notes as the E minor scale, so it isn't completely dissonant, which is why it sounds nice yet interesting. Just an FYI, one thing he didn't mention in this video is that he sharpened the sixth in the E minor scale, which is why the A pentatonic scale fits.
+Mr.Derpzter Thanks!
Pat Metheny ,,,
the keyboard sound sucks... never heard a piano with such short decay sound ;)
but very good tutorial!!! thx, but not exactly paradiddles...?!
I imagine that having a short decay to the sound helps for demonstration purposes for the audience to distinguish the separate attacks more clearly. It makes a lot of sense for demonstrating rhythmic techniques.
You need to change your thumnail i never click on it cuz it never looks interesting although this channel has some great content i get detoured by the thumbnail cuz it seems too lectury