Pro Tip: Triadic Planing

[@AimeeNolte]

Thanks to those who pointed out a couple of accidental omissions in the worksheet. It’s been corrected.

[@markpontin3720]

Aimee, Great work, and as Fred Ostrow says, stop giving away the secret sauce. However, I have a quibble. What you're talking about here really isn't "planing" (as in in-and-out modal playing) -- though I see why you'd settle on the term when looking for a descriptor -- but instead aligns pretty closely with the notion of harmonic appoggiatura in 19th century classical theory. See forex -- www.harmony.org.uk/book/functional_harmony_appoggiatura_chords.htm en.audiofanzine.com/music-theory/editorial/articles/harmonic-anticipation-and-appoggiatura.html. Similarly, what you're doing on the video in the dorian minor context with 'So What' chords and Evans-style modal playing is nice stuff but it's parallel motion not planing. I'd say it _becomes_ planing precisely when you start moving the parallel motion around chromatically, out of the original mode of whatever the chord in question is. Also, you _can_ very much do this stuff on tonic and fourth major chords. For a cheap example, in the A section of 'Misty' there's a couple of notes of pickup in the melody ("Look at...") and then the first note on the first beat of the first bar is the major seventh ("...me"). So on that first quarter-note you can play a major triad chord one semitone below the tonic (w. the tonic in the bass), then slide up into the tonic. A fair amount of black church songs do that, too, now I think of it. ('The Blood Will Never Lose Its Power', 'Going Up Yonder' are some). What's especially effective if you're a church Hammond organ player who knows those high, singing drawbar settings, is that on solos you can slide into and out of chords like a pedal steel player. (IIRC, on ARETHA LIVE AT THE FILLMORE WEST there's a great Billy Preston solo on 'Bridge Over Troubled Water' where he does it.)

[@aboveaveragebayleaf9216]

I guess I could see it being analyzed both ways. From a practical standpoint you are planning the same basic triad shape.

[@theaddictofgaming9174]

Accidental Accidental omissions

[@avatacron60]

Beautiful sounds!!! This is *real* music, not the crap they teach in other KZbin channels.

[@chasesanborn]

I so admire your disarmingly effective approach, which hits multiple levels simultaneously. I've been a pro player for more than forty years and a teacher for many of them, and I've learned a lot from watching your videos, especially about empathy and pacing. You are a model of clarity, warmth and sincerity.

[@sakules]

this is what the internet is made for. Absolutely amazing educational content!

[@cns7139]

Love this video! The bridge of Misty has that melody: “but it’s just… what I want you to do,”

[@parlomur7515]

It’s great to see the score above the piano. More easy to understand quickly and to play. Merci chère A.

[@royschwaben9646]

It's amazing how you never lose sight of melody and structure and song. It's all about the music. May sound like "well, duh!", but that's rare to come by.

[@RobyMBeki]

I really like the CaugM7 to C13 movement With an d f# c e g# b to c g bb c e a double-hand voicing! Cheers Aimee thank you! ❤

[@andompoggi]

Beautiful playing and your enthusiasm for music is so infectious, inspires me always!

[@mdp303]

I love these tips and tricks. They open lots of possibilities andstop me being bored by my own playing. Thank you 😊

[@j.jerome4073]

Fantastic Job. Love your style of communication!

[@Sic4ce]

Thank you Aimee I am really jazzed about this video, I took a lesson with a guy who does this, when I asked him about how to do plaining he had no idea what I was talking about, and the whole lesson he was talking about tritone subs which I already knew about. Thank you for showing me what he could not explain!

[@jeffvair62]

Excellent as always, Aimee! Your videos always help me think better when I find myself in a rut--you help ward off the vanilla puddin' when it starts creeping into my sound :)

[@arastoomii4305]

You are such a gift for the world.

[@xJackkHD]

Wow, your singing is beautiful. Thanks for the vid as well!

[@petejackson4968]

Aimee you are a tremendous teacher, I always enjoy your tutorials. I am also a huge fan of Bill Evans and love the way you explain what he was doing and how he did it. He doesn't get the recognition he deserves for his talent.

[@dvaughnpershing6553]

These exercises are great. Thanks for sharing again.

[@arnieus866]

Very handy tip on guitar as well. Thanks Aimee.

[@sweenbeans]

Much appreciated Aimee. Your an angel bestowing musical blessings. Your voice is one of the best I've ever heard. Please continue to grace us with your wonderful talents. Jim

[@michaelandersson1904]

You are a great teacher and a great person who share this!! Thank you!!

[@TheCommenter-m4f]

Nice Aimee!

[@richardxu8865]

This video was so cool! I really like the hip sound (almost kind of modal-y)! Thanks for the awesome tutorial!

[@velardechelo]

i love you, thanks for teaching us this, my jazz professor use to teach me about this, but I always kinda fell asleep with him, with you is another story...

[@tracyharms3548]

This is *so good*! A huge part of my interest in jazz comes from the casual use of apparently arbitrary tones that nevertheless sound melodious. Here you've given me x-ray specs into one of my favorite forms of that. Thanks!

[@ismalocoss]

thank you so much for this knowledge, Amy. Kind of blue vibes are strong with this one

[@MiniJordan49]

On the 2nd bar of the bridge of "Misty," "but it's just what I want" has the melody you play at 12:20! Great demonstration of the concept, I'm excited to try it.

[@KatrinaHuber]

Ooooh, I hear it! Is it over the same chord? (Assuming that it’s played in the same key)

[@cbarlow3]

Those measures of Misty do have that melody (good catch), but the chords in Misty are a ii V7b9 Imaj7 with the last note being the THIRD of the Maj7 chord rather than the seventh. So instead of Dm7b5 G7b9 Cmaj7 in the first example, Misty would play that same melody with Am7 D7b9 Gmaj7. Pretty interesting that that melody sounds good over (at least) two different ii V I sequences!

[@MiniJordan49]

@@cbarlow3 Ah that's right, the melody does end on the 3rd of the I chord. Good eye

[@Kosmo999]

Love your spirit and energy Aimee! Always inspiring to click on your videos/

[@EliPorter456]

0:58 It's nice when people actually acknowledge the existence of vibes thanks for that. I know it doesn't seem like much but we don't get much attention 😂😂😂.

[@AimeeNolte]

❤️❤️🙌🏼🙌🏼

[@robstringer35]

This is way cool. Marianne McPartland was definitely hip to this too! I love the sound of chords moving in parallel, always have!

[@firesailstudios1003]

WOw. What a great musician and a great voice!

[@Christopher.TheGrasshopper]

You are such a beautiful form of energy

[@dyno43k]

I found you just now,you are wonderful.

[@JulietRobin]

Absolutely beautiful. You are so amazing. Thank you for sharing.

[@richardcasey7521]

Wow! Thanks Aimee!

[@jimkangas4176]

Nice catch, Amy!

[@jimkangas4176]

sorry, Aimee

[@DannyVDub]

Love it. Mixing up altered, diminished scale harmonies, and suspensions from the half diminished. The root notes of the b3 and 6 triads over G (Bb & E) can move up a half step to form the diminished 7 and make inner lines.

[@ThePopolong]

I used this kind of book (with score on a page and place for text on the other) when I was child in my first solfège lessons, about 40 years ago. That was a standard for this kind of lessons at this time.

[@garethchristian6257]

Total brain stimulation...thank you for your clarity.....would you do some videos on vocal technique? I'm a sax player and I'm fascinated by your musicality

[@Bashanvibe]

This is very beautiful

[@jamesewanchook2276]

pretty good teacher you are!

[@johna6648]

Perfect! I’ve just started learning The Shadow of Your Smile. 🌛

[@TheVigilantStewards]

Oh man, I don't know anything about that artist or history but I LOVE that song... Can hear the melody now

[@Adeno]

Awesome as always :D Thanks for the clear explanation! I sometimes do this but didn't really know why it sounded nice and I couldn't always pull it off all the time. With your explanation, I hope to be able to use this at will :D

[@BMarPiano]

Excellent!

[@patbreacadh]

This is so cool!

[@MarianoStatelloPiano]

Genial! Saludos desde Argentina!

[@vermithrax-pejorative]

I just ordered three of those notebooks.

[@jarbasgoulartdecastro9104]

Yeah,Aimee!!!

[@W.E.]

12:07 That sound should be in one of the next songs YOU write!

[@JoelCarli]

The beautifully fun thing about dominant chords is you can decorate them in any which way you like (barring perhaps the addition of a major 7, although there are no rules in music). Plus, consider the ability to substitute to the tritone, and you have so many different "moods" you can achieve with your progression. A 13b9 and a #9#5 sound so extremely different and yet have the same theoretical (if not aesthetic) function. I personally love planing with parallel chords (which don't change interval relations, ex. only major triads). One of my favorite uses of this is in Brian Setzer's rendition of Sleepwalk; he arrives on a V13b9 chord, and moves the upper tetrads in minor-third steps over a pedal-point bass, kind of like a diminished chord with an added extension. Stravinsky is also known for superimposing triads in interesting ways.

[@danbunch1514]

wow! TY so much!

[@jorge-keys]

Loving this exercise!! The second one can also fit in All the things you are (Melody in bars 13-15 😁)

[@AimeeNolte]

Hey! You found one! I’m sad that I missed it! Way to go!

[@musicalintentions]

very, very cool

[@pringelsthegamefreak]

Great video, Amy, very helpful and informative :)

[@1678felipe]

I don't remember the harmony right now, but that part at 12:25 sounds like the bridge for Misty, so maybe that would work

[@theoooms7277]

very very nice, playing a B triad over a G7 chord🤪love it!!

[@sandalero]

i would add the B in the G7 chords, but the upper structures alone sound also very nice

[@TheVigilantStewards]

Would love to have the chance to take lessons in person, but I'm pretty sure you're in CA based off your skateboard video. What great content

[@DaveyDave1977]

You are so amazing....

[@theoshouse8215]

Awesome. Just a heads up, at around 10:48, theres a mistake. On your sheet it says D# where it should say C# I think.

[@eternalrainbow-cj3iu]

I like your Triads, although they're all familiair, Though the way you put them together is NEW, so I will do your practice, and will shizzle them through all Keys! I am realy interested how licks will sound with those, because with your II V I work out to be honoust I missed them a bit, except your altered Triad Db over G7 I missed a bit the E over G stuff...

[@JOUA1400]

YES Aimee; U r the LOVLIEST GIRL!!!! btw: Excellent reference to 'So What' CHORDS!!!! and OF COURSE Bill Evans!!!!!so the concept ISN'T limited to alt. dom chords; VERY insightful!

[@uchekennedyYT]

GOLD!!!

[@dkwvt13]

Cool approach, a bit of a stretch on solo guitar but easily accomplished in combo... Upper structure triads and inversions can make all the difference in getting out of the way and having your own space while still contributing. Thank You...! 😎

[@AimeeNolte]

I know that it’s not too difficult to add the dominant seven as the bottom note on guitar. A friend of mine and I were talking about that. He says it’s a shape he uses often.

[@dkwvt13]

Aimee Nolte Music Yes! We have been playing with that as a starting point for upper structures as well. Dominant 7 diminished above triads are very interesting... Thanks!

[@daveaustin4538]

yes I agree .. take freedom with the melody at times to bring out a harmonic device. The average listener will not hear it, and if there's any musicians around they'll go: OMG!! that was great, I better go home and practice!!

[@gono6]

I bought 2!

[@samaraconsolata1356]

Hello Aimee. Your album isn’t available in Brazil, is that right?

[@patrickcunningham618]

Super!

[@stevet2411]

Great stuff, Aimee. Check out Clifford Brown's Delilah for a great example of triadic planning as well.

[@sandalero]

B and Bb maj triads are odd upper structures over G7 (cause of F#, but we had that topic, your fave chord .-) ) . . . IF E, Eb, Db work over G7 so do Bb, A, G (tritone sub)

[@pjdp.1750]

how do you feel about Amel Larrieux's "lovely standards" album? is a jazz cover album

[@MeteorFallsOfficial]

Jeez louisssss

[@theaddictofgaming9174]

Seems like a cool way to add melodisicm to my comping.

[@batlin]

11:30 That D# chord mark should be Db or C# (maybe already fixed on the sheet)

[@AimeeNolte]

Thank you. I’ll fix it asap

[@danield7449]

this video is going to take me hours to understand. Thanks for the homework.

[@m.a.bushling]

Me: "I'll download the sheet, cuz that'll be easier." *grabs guitar* Also me: "Okay, don't panic...they're just like ledger lines, they're just like ledger lines, they're...just ledger...awwwww, crap...Good Boys Do Fine Always...

[@peterbrough2461]

6:31 ♫ You always smile but … ♫ from "Without You " - Harry Nillson, Badfinger

[@JohnHorneGuitar]

Very hip!

[@kblu65]

Hi😊!!! Trying to find the starting point of your lessons...I’m a beginner 😊

[@AimeeNolte]

My Back To Basics playlist 👊🏼

[@Ernie_Centofanti]

In Exercise #2, first measure, 4th chord in the right hand, shouldn’t that be an F-natural? (the F before it is sharp).

[@AimeeNolte]

Yes. Good catch. Thanks.

[@Ernie_Centofanti]

@@AimeeNolte I was playing these on the piano, and I was thinking how it would sound really cool with chords like these in a big band arrangement. Then again, I would imagine a big band arranger has probably already beat me to it.

[@peterbrough2461]

12:00 Maybe If you want to bend the chorus of "Misty" a bit? 😳

[@AimeeNolte]

“Just what I want you to do.” GOOD FIND

[@Krieghandt]

For the 'classic' use of planing, check out Debussy.

[@tedturner03]

The song that has the melody you are looking for - Sinatra "here's to the losers". The lyric that covers the phrase . . . hey Tom Dick and Harry ... {"Come in out of the rain"} The brackets is the phrase you are looking for. 🙏

[@matthewgoldberg1461]

Aimee an example of exercise #2 is In the verse of Cole Porter’s I Get A Kick Out of You, where the words are: fighting vainly the old ennui. Just listen to Frank’s version. I will email you the sheet music page later. It too uses a Triadic concept, but different from yours (not as good). I first learned your concept during our Skype on Falling Snow. Nice to finally figure out how to get THAT SOUND I’d always been hearing. And I can certify that it works on guitar as well. -matt

[@AimeeNolte]

That’s an example of exercise one. On the word, vein, it’s the flat nine of the five chord...right?

[@matthewgoldberg1461]

Aimee I accept your correction - Matt

[@Kneith]

Soo, if you're soloing you can just find the melody over the V7 and arpeggiate triads around it. Cool :)

[@jdmarino]

Something tells me the notebook is meant to be kept open, with the page for handwriting on the left and the music staves on the right. The idea would be for you to add (English) notes to the music and *see both*.

[@SimonKingMusic]

Hi Amiee

[@One-Bigg-Kydd]

Your singing voice is even better than the chords!

[@czarnick2]

How about in the bridge of“Misty” ? “...But it's just what I want you to do”

[@akf2000]

Nice haircut!

[@officialej2wavy]

“What is this thing called love” does something like exercise #2

[@AimeeNolte]

Hey! Nice one!

[@JOUA1400]

P.S.- Con Alma..Dizzy?

[@AimeeNolte]

Absolutely ❤️

[@wyattstevens8574]

Bohemian Rhapsody uses that some in the vocals.

[@craigkeller]

If you could please set up next to a fireplace, I’d pour myself a scotch , kick back, and learn something! As it is, I’m just sitting here with a bottle of water. Learning.

[@TheDuffLP]

Isnt "triadic" playing the key of everthing ? I mean its how music moves on. For example the quintfallsequenz is triadic, or when you move a melody up or down for me the most logical way is to move on "triadic"; "linear; "symetric" Here for example a triadic melody line in c-minor: c-Eb-d, d-f-Eb, Eb-g-f, f-Ab-g......etc. I'm moving up in the same pattern but using different notes. So is it triadic or am i wrong with my undersatding of it?

[@ruswhite1586]

Altered scale! XD

[@hankmerman1967]

Playing solo piano like a solo guitarist.

[@jasneskis]

Too much of what you show is far too advanced for my ability presently. Real elementary is too simple. I don’t want to buy things I can’t use. Do you have any instruction that brings one from simple to advanced in order. Not jumping all over. Presently watching you is inspiring but... is such a waste of time and too frustrating.

[@MooPotPie]

God, I hate Bill Evans!

[@goodcyrus]

I dont like this channel. A) The main Ideas are not defined well, e.g. 4.5 min into the video, the concept of planing is not defined at all, that is after a whole bunch of advertising and merchandising (2 page notes for $5, not disclosed up front = clickbait), B) the graphics are poorly hand written notes. Or pointing to a page in someone's hand. C) The musical taste is poor. Bill Evans and Miles Davis etc. are over-rated composers. Evans drills a hole in your head after 20 min of listening. My ears begin to bleed. Learn from Bach, Ravel, Saint-Saëns and Korsakov. D) Add to all of this, KZbin ads that most people cannot afford to pay and remove.

[@avatacron60]

Gosh! First time I hear someone say that Bill Evans and Miles Davis are overrated musicians. Really? They were genius in the jazz idiom and we're talking about jazz here so I don't see why we have to talk about Bach, Ravel, etc, composers that we love too, though.

[@LemoUtan]

Good Grief

[@lynnblake]

The door. Your trolling butt. Let the one hit the other in the sequenced order. Buh bye! :)