Footprints For Solo Piano (subtítulos disponibles en español)

[@mjohnkirton]

I think your song breakdowns are fantastic! You always get the correct chords. I don't play piano but your videos are really useful for guitarists and bassists too. Thank you for all the great work you continue to do in jazz education :)

[@MrBillbix1]

Found your Footprints lesson on your website and followed to your KZbin channel. What a great teacher you are. Thank you.

[@markjohnson9485]

This is a great lesson....it has given me more options and voicings to use on guitar . Thank you

[@GaiaMoto]

This marvelous tutorial helped me a great deal to approach a wonderful tune

[@robowser]

Thank you!!! The tips for the last four bars opened up so many options for playing it and still having it sound good!

[@ronaldosouza5019]

Thank you very much for your piano lessons here on youtube ... A hug here from Brazil !!

[@bustabass9025]

As a bass player I really appreciate your break down of the chord sequences used in this Wayne Shorter classic. It helps me to better replicate Reggie Workman's double bass solo in the original recording of Footprints from Wayne's 1966 Adam's Apple LP on Blue Note. Good job! 👍

[@nianinjabeetz4491]

I second this. So many of yur videos are so useful for bass players. Thank You.

[@Agaveo_Productions]

So finally I get it! I'm an intermediate amateur piano player. Last year I dowloaded the Real Book Footprints...but I realized it was wrong! 3/4 instead of 6/4...and D7 and Db7 chords etc ... and when recently I played in a jam I was unconfortable!!....but this morning I found this precious tutorial!.... thank you very much Aimee!

[@peterjamero8799]

Incredible! This is one of my all-time favorite songs and I play it on every gig but it doesn't sound like this. Thank you so much for breaking down this song for me and demistifying the turnaround chords. You're a beautiful piano player.

[@AimeeNolte]

+Peter Jamero you're so welcome, Peter. Thanks for the comment!

[@tonybmusic1166]

Excellent, excellent arrangement of Footprints. When I was teaching piano I had just a handful of students who were interested in jazz and I wrote out several arrangements for them. If I was still teaching I would definitely want your transcription to share with them.

[@Sujowi]

Sitting at my piano practicing your lesson about memorising a tune and Aimee, you pop up with another great lesson! I'm concentrating on memorising Autumn Leaves as it's winter in New Zealand and lots of gold leaves around. Plus it's a standard!

[@lonniemoseley]

Wow!!! Just the other day i was going to put in a request for this piece. You are truly psychic. Thanks for doing this.

[@peterpeters542]

Awesome, easy to understand. Thanx a lot

[@marcusmajalca9179]

Wow, this was very helpful. Thank you so much.

[@alanmarshall8850]

Awesome dissonance...... I love it omg

[@roathripper]

great video, fun and challenging to learn for me. hardest part i find is coordinating the left and right hand to get that polyrhythm thing going.

[@christheother9088]

very lovely. That bass line is real nice.

[@marikasaripo]

Thank you, Aimee!!!!

[@dwdei8815]

I had a lot of trouble with polyrhythm, esp with Chopin. Used to scrawl vertical lines trying to coordinate the woozy relationship between left and right hands. The workaround I stumbled across, to use your 5 over 3 (Footprints) as an example, is not to see it as a run of five, but a run of 6, which ends on the middle C. In other words, the destination note is the one that I use to determine the length of the preceeding notes, and the mental instruction becomes to get there in an elastic/ smooth/ liquid way, while putting the left hand on deliberate autopilot. It works.

[@mitchelledels9762]

Nice chords Aimee . I use 6/9 chords on guitar

[@marckrovetz9522]

You're doing really good. Love your videos!

[@sylviechauvin6833]

Thank you !

[@bills48321]

this sounds great, Aimee. I knew the D7 and Db7 in my Real Book were wrong, but I couldn't figure out what they were playing on the record. Now I know.

[@billgrabbe9992]

Block chords are a gateway drug to Drop 2 voicings, so I tried that here with useful results.

[@academiadivertimento9443]

Muchas gracias maestra, excelente video!

[@douglasbrownlie5271]

Hey Aimee, another fabby helpful and generous lesson! Thank you. A little advice on pedalling the head would be helpful too!

[@jauischneider4179]

Altered dominant usually means b9 #9 #11 b13 from the scale of the 7th degree of the melodic minor scale ascending. The F7 with the G triad upper structure and similar E7 chord come from the 4th degree of the melodic minor ascending. The scales are usually referred to as Lydian b7 or Mixolydian # 4. I’ve never heard a name for that chord except for stating the extensions as opposed to the “altered” chord . This is what I have seen as common oractice in many books and curriculum.

[@alr12]

Just found your channel and i am amazed with your content, you are a very cool person and an amazing musician. I also love this tune, cant wait for part2! Thanks for your great videos! I want to let you know that i cried watching your performance of moon river, and i dont cry often while listening to music, last time was with Das Lied von der erde lol.

[@urayoungsterbodybuildingfi9145]

Aimee, I love your channel. I've not seen a natural nine and natural 6 used with Alt chords. It DOES sound good, though. I use your chords as given and a revised version with #5 and #9. Thanks for the great content! BTW, your ear is scary good!

[@sugarpacketchad]

You're Very Smooth and Talented!

[@johndobson1899]

another great vid from Aimee .

[@MarkFromHawaii]

Rest in Peace Mr. Shorter.

[@mdmellis]

Nice tune! Looking forward to part 2.

[@AL3Dsvids]

Very Inspirational, Thanks.

[@ericbarritt304]

Very nice piece

[@brachaleba]

wonderful contribution thank you!!!

[@moiseechen]

so nice. so inspirational! glorious. big thanks.

[@wreckingrow6566]

Great vid! Such a beautiful song. The D9 vs F#m-5 is really only a distinction for the bass line. I'm not sure I would call that incorrect. The bass playing the third on a dominant chord is fairly common.

[@TheChianello]

Miles Smiles - 1966 features my favorite rendition of 'Footprints'.

[@scottm4267]

Great lesson, thank you

[@elgranpianista1]

Mil gracias. Aprecio que tengas los subtítulos en español. Saludos desde Argentina

[@elgranpianista1]

Cuidado en el A7 alt del compás 11 falta el becuadro en el G de las dos manos. Aunque se supone que un A7 lleva la b7 debería escribirse pues venimos de un G# en una mano y de Gb en la otra.

[@noelyates]

Lovely arrangement, top girl.

[@truthpopup]

The ostinato you play in the bass works, but on Wayne Shorter's recording, it ascends C, G, C, Eb, spanning a minor tenth, but there is a subtle change when the progression goes to the Fm chord, where it becomes C, F, C, Eb.

[@virginiapecoraro8935]

Yes...

[@imalamboman12]

Awesome

[@LKBL8]

Beautiful tune, nice teaching, especially the cheating thing :)

[@realraven2000]

That's soooo nice Amee! Now I long to be back home at my Steinway Grand Piano.

[@fusion-music]

Awesome player & teacher. I saw Wayne Shorter in 1978 and loved his approach to playing and composing with Weather Report. Would be nice for you to cover Birdland or something aroung that era. You have so many ideas on this comp alone.

[@regmonmusic]

Very nice!

[@thiagobrito3392]

Great lesson!! Thanks!!

[@MarcosHBass]

Thaaaank you !!!!

[@lllewis2506]

great video

[@grapejelly9719]

Do you think you could make a video about jazz sequencing during solos? I'm having a trouble with creating sequences that are interesting and don't when to input them during solos.

[@AimeeNolte]

+Chrisie Poo search my name and sequences in the search bar. 😉

[@grapejelly9719]

Aimee Nolte Music thank you!

[@rexchidgey7911]

Brilliant!!!

[@VassilisArt]

True... The Realbook D7> Db7 ending is wrong. Therefore. . Congratulations for the F#mb5/7- B7alt > Εmb5/7- Α7alt turnaround. Shorter has confirmed this years ago..

[@renzosanjuan4033]

YES

[@ELAIRCLEM]

Good, i needed !

[@ChrisDragotta]

You have a gorgeous sounding piano. What kind is it? Like it better than Steinways!

[@realraven2000]

Altered chords. I am always marvelling at what the heck that means. I know my m7, M7, 9, 11, dim, halfdim, aug, but what the heck is "altered"??? PLease make a video about altered chords and the scales that go with them, and where they can be used ??

[@AimeeNolte]

+Realraven2000 I just answered another comment with this same question. Check out that answer and make sure and look up my name and the terms "altered" and "dominant" in the KZbin search bar

[@realraven2000]

I think I just got interesting epiphany on the dorian scales: they are actually the same as the lydian scales on the parallel major. So if I play Cdorian, but start on the parallel major (Eb) I get Eb lydian. I think the dorian in Cminor actually inherits some of the brightness of the natural A (creating that augmented fourth from the Eb). So to me the dorian actually has the same "bright" feel especially when I am playing centered around the third (Eb) or walking up from there. Am I wrong?

[@AimeeNolte]

+Realraven2000 no you are right. It doesn't stop there though. All of the modes in any given key use the same notes as the other ones. They just have different starting notes...and usually different root notes below them in the bass, which I think, determines their brightness, etc. keep on thinking!

[@lonniemoseley]

Hey Amy, would you explain the harmony for using the sharp 11 where i would expect the "v" in the minor blues of i, iv, v.

[@realraven2000]

5:20 f.. me sideways these voicings look (and sound) SOOO much like Debussy. I think I am gonna have to buy that work sheet you made,. 12:50 except here Debussy would have left out the C# or made it C natural- I think there are a few too many (small second) dissonance in the center for my old ass taste. Love the top 2 voicings of these altered chords though. Would you say it's also okay to stick to "ne quid nimis?" and approach altered chords a little more like shells to avoid making them too thick?

[@realraven2000]

I love me some whole note scales :)

[@arthursantiago100]

Great lesson again Amy. Question? I’ve heard people describe ALT chords in different ways. I have heard some people describe it as Dom7 #5#9 or others describe it as dom 7 with a flat 5. I noticed your F7 Alt ( w upper structure triad G ) , u call an Alt chord. Is there a universal definition? Not that it’s important. In the end , I suppose we have to go with what sounds good and fits the harmony. Thanks again.

[@AimeeNolte]

Check our my “choosing altered dominants” video. I think I cover it pretty well there. Good question!

[@JoelCarli]

Sounds like a brass arrangement!

[@KayBenyarko]

Aimee I love what you do but just a few corrections the baseline on the second chord is uses the C baseline as a pedal point for the fminor chord.it doesn't change.its a common mistake.also the amin chord has a flat 13.great work though

[@LarrySiden]

Aimee, think I understand in the turnaround section why Emaj triad works over F#-7b5 (5th degree triad of A melodic minor), and why Ebmaj triad works over A7alt (tritone sub), but I was wondering how you get G major as an extension over F7alt, and Gb major as an extension of E7alt? I can hear it sound cool when you play it. I'm just wondering how you came to that.

[@AimeeNolte]

+Lawrence Siden just think about what each Note of those triads are in the chord we add them to. So F7 and the G major triad has the G as the 9, and B as the #11, and the D as the 13. See?

[@davexshow6811]

Hey Aimee! I was just wondering what you meant by "altered chord". I know the altered scale, and I'm guessing they're linked, but I really don't know what an altered chord is. Thanks!

[@AimeeNolte]

+Davex Show it can mean a combination of things but you can alter the fifth by sharping or flatting it. The same with the 9th. So just one or a combo of those = altered

[@davexshow6811]

Aimee Nolte Music Oh okay, I knew what it was, but not the name for it, it seems! Thanks again!

[@eternalrainbow-cj3iu]

Thank you Aimee, so you played G#m7911NR over E7? is that right?

[@AimeeNolte]

+eternal rainbow nooo it was a Gb major triad over the E7

[@alexeisavrasov888]

When it gets to Fm, the bass line is C-F-Bb-Eb. I don't think it simply goes up a 4th like you're doing it...it stays on the C. Check it out babe!

[@AimeeNolte]

+Alexei Savrasov that's just what I said. I said it's not the way the bass is in the recording but I'm switching it because I like it better for solo piano.

[@alexeisavrasov888]

Sure, I understand. But when it's just a blues, there are only a couple of things that make it stand out as distinctive, the bass line and the descinding chords (F#m7b5 etc). It's a bit like playing All Blues and going to the C7 instead of keeping it Gm7. Little things, but they mean a lot, as the song goes.

[@JRF777]

[@brianmi40]

Sought this out after listening to Matteo Mancuso's OUTSTANDING cover of the tune (channeling Captain Fingers...) just released: kzbin.info/www/bejne/fqOyl3-jhsyFhcU This kid is something special... Of course, Aimee is too!

[@rickyguitarman3839]

funny thing...these people trying to make money out of _youtube_ .... _ they get some subs_ (nice), they get _likes_ (nice), people _post comments_ how nice, you try to learn something...._cool_ right? but the best part is...you ask something AND you never ever get a reply to your questions! I understand you young people trying to learn music.

[@SyncopatedProgress]

I can only speak for myself, but I have a small channel, and it's still hard to keep up with comments. My day job takes up most of the time, and you feel horrible picking and choosing which comments to answer. The most fair approach seems to not respond at all, or to respond to everyone. If the latter choice is picked, then you lose quite a lot of time. Time that could be spent actually making videos, which is what the people commenting wants, it's safe to assume.

[@AimeeNolte]

+SyncopatedProgress most people who have questions email me and ask them nicely. I respond to comments that are thoughtful and respectful, generally.