Four: Journey Through The Real Book

[@latinkeys1]

Conceptually, I know this but, I needed to hear this... I’m getting into standards seriously now. It is important to hear how the masters did it. Very true

[@ModeDorian]

good video - i’m teaching this to a studnet right now. Great concepts

[@rondrotoskeyboardimprov9453]

Thanks, and your students are lucky to have you as their teacher!

[@ModeDorian]

I'm not sure they feel the same ha ha. Keen to check out your other vids. thanks for sharing.

[@rondrotoskeyboardimprov9453]

@@ModeDorian I'm sure they do! Thanks for watching my vids :)

[@randyknisely8979]

Thanks Ron, I remember Red Garland played differern changes than the Real Book and how I had been playing it and then I wasn't sure which way to play it, now I know!

[@AfokeAbel]

Just finish practicing this tune with my prof via zoom. thank you for this video.

[@rondrotoskeyboardimprov9453]

Excellent - keep practicing and have fun :)

[@juanchiconsoli8905]

I was looking for a miles davis tune and discovered gold ! Thank you very much for your work, keep on with the real book journey

[@addyd.3140]

Thanks again! I love how introspective your videos are.

[@johngeast]

I always felt that Four was an updated version of If You Could See Me Now "Perhaps then you'd realize I'm still in love with you"

[@rondrotoskeyboardimprov9453]

Wow - I hadn't noticed that before! Yes, these phrases were in the air at the time, and Tadd Dameron was a big presence on the early bebop scene.

[@johngeast]

@@rondrotoskeyboardimprov9453 Song which, if I may be so bold, inspired Pink Floyd with the first two chords: Ebmaj7 - Ab7 "The lunatic/is on the grass" I'd wager that any Brit would tell you that's obvious ha

[@rondrotoskeyboardimprov9453]

@@johngeast Could be, it's certainly in there. They may have heard the progression in a bluesy old ballad too, but I agree that it originated in the world of jazzy harmonies.

[@johngeast]

@@rondrotoskeyboardimprov9453 Of course, you're right, it's a common enough motion; we find it famously in Stella. I just find it such a haunting sound, toggling back and forth at the top of the song that way. Growing up believing that Pink Floyd was a radical psychedelic band, I was surprised to discover that they were cross-generational British heros even back in the day. Pink Floyd also surprised me for their power to assimilates musical styles into their own, as when I listen to Animals, and the album practically oozes Frank Zappa motions; I'm almost embarrassed to listen to it. It's encouraging to imagine that such a sublime musical conversation could happen across genres and across generations.

[@rondrotoskeyboardimprov9453]

@@johngeast You're exactly right, John - it's because musicians don't think in terms of genres when it comes to their personal tastes.

[@JoeLach]

The pickup into Fmi7 (while on the Ab7). Oh wow, I wish I listened to it better, now, before I posted my version. Great talk/lesson.

[@flavioangelini861]

Start a guide on how to study jazz piano for intermidiates.

[@bills48321]

I heard Miles playing the melody both ways you talked about; with the pickup note and without it. The first time through he played the pickup note and the second time and he played it without. Thanks for pointing that out and the different chords. I have the old book so I didn't realize the chords were inaccurate. I am referring to this recording; kzbin.info/www/bejne/kGOWdGytZdKIjtk

[@rondrotos5285]

I'm glad this video helped clear up the chords for you - good luck with your music!