have been studying classical piano for almost 3 years now. I've tried to make my way into jazz, but i always seemed to struggle with voicings. Thank you for your insight
@jansestak9543 жыл бұрын
I love the concept of manipulating voicing tension. Never conciously thought of that. Thank you
@jonahvogelman68966 жыл бұрын
I learned more from your videos than my entire music degree. Love the way you explain rules
@WalkThatBass6 жыл бұрын
Thanks, mate. Happy to help :)
@l0wbtry7 жыл бұрын
Damn, your videos are exactly what I've been looking for! Also for free :)
@WalkThatBass7 жыл бұрын
Hope you enjoy them :)
@monsieurmadame6483 жыл бұрын
Damn in 1 year of desperately trying to compose, i finally understand how to voice a chord. Thank you so much, that was a very useful video
@Elwrt4556 жыл бұрын
Walk That Bass is one of the BEST jazz piano tutors. You create videos that makes it easy to learn and inspirational
@stevenkeller476 Жыл бұрын
I've never heard the 9, 11, and 13 called tensions before. I was taught they were called extensions. Thank you for the insight. Great content, more jazz in the world!!
@pogchamp79836 жыл бұрын
This video is absolute gold mate, have been trying to understand what goes through players minds when they're thinking about harmony. This is much deeper than tonic sub dominant dominant and really sheds some light on how harmony creates movement in music. Thank you!
@updown52383 жыл бұрын
I clicked back on the browser after i watched and liked to comment, excellent work - thanks to you :) How you've explained things makes sense and generates ideas. Cheers!
@kennyin17 жыл бұрын
can't wait for the voice leading lesson
@DrummerJacob8 ай бұрын
This video got tense toward the middle but resolved just perfectly toward the end.
@williamowusu77784 жыл бұрын
You've been helping me a lot quite lately and i want to a say very big thank you to you . God richly bless you.
@aenimosity77 жыл бұрын
you are a great teacher! Thanks for sharing
@WalkThatBass7 жыл бұрын
Thanks, Sean.
@cirocasarin4 жыл бұрын
EXCELLENT...just what I needed. Greetings from Argentina!
@nickfrankel93347 жыл бұрын
I just want to say your website has helped me so much more than any other resource out there. You packed so much good information in one place, THANK YOU, Bless you.
@WalkThatBass7 жыл бұрын
No worries, mate. Thanks for the comment.
@Jammonster116 ай бұрын
Such a good video, thank you for making this!
@PierreAnsorena3 жыл бұрын
Great teacher. Very well explained
@ThomasHope736 жыл бұрын
Perfect lesson! Brilliantly clear, and demystifying! Thank you so much!
@lavamatstudios3 жыл бұрын
This is exactly what I was looking for! Thank you!
@Gabel3DA2 жыл бұрын
Thanks for the really helpful video on voicings. I do understand them better now. I noticed a mistake in the end of the video. While playing the II-V-I with resolution voicing you play the V with an Ab instead of A#. (Has happened to me as well ;)) Further i ask myself how to fit in C6 chords. Is the 6 also an available tension or an chordtype itself How is it, that you can play the C6 instead of maj7? Do you have a video on walking bass? Or any other interesting sounds for left hand? Thank you so much!
@kenedie90225 жыл бұрын
You explained Exactly what I needed... Thanks man..
@ejohnsondebaufre4 жыл бұрын
This is a very useful and easy to follow video. Thanks for sharing such great content!
@gordonbryant64605 жыл бұрын
Thank you for the great information - I hope you get your piano tuned soon...
@simonliddell18973 жыл бұрын
Thanks I found this extremely useful.
@chaylon.j3 жыл бұрын
THANK YOU SO MUCH THIS IS SO CONCISE.
@潘彦哥3 жыл бұрын
it helps me a lot, thanks for ur lesson ! and for free !
@ppff54613 жыл бұрын
Thank Uuuu. Manific teaching.🙏👍💐👏⭐
@walkaboutarts7 жыл бұрын
very insightful and clear explanations, thanks mate! can't wait for the voice leading video.
@WalkThatBass7 жыл бұрын
Cheers, walkabout. Yep, I'll get onto it as soon as I find the time!
@yurikontrobarsky86842 жыл бұрын
That's awesome. Thanks
@harry.broome4 жыл бұрын
Very insightful, thanks heaps!
@amatta_7 жыл бұрын
Hi! I have some questions on this topic! 1. I wonder how 'harmonic tension' is determined depending on its chord type. V7 seems to have high tension, seeing that it has a tritone between its 3rd and 7th note. So, is it determined by which intervals the chord type has? And is it possible to row up chord types according to their sizes of harmonic tension? 2. If tension is divided into two tensions, harmonic tension and voicing tension, what is the tension made by melodies over a certain chord type, which you covered in Reharmonisation section? 3. Is it possible to quantify tension, adding up all the tensions, the harmonic tension, and the voicing tension(, and the tension made by melodies)? Thank you!
@guitarbizzar5524 Жыл бұрын
Great video!
@FerranOlid3 жыл бұрын
Nice video for getting introduced to piano voicings! I studied modern piano when I was a teenager and then moved to drums, which I am currently studying. However now that I know a bit more about harmony, I picked back the piano and this video helped a lot to reestructure my mind around chord voicings, thank you! I have a doubt though... around 8:30, you say you play a G13#9, but isn't it b9 what you are actually playing? Shouldn't it be A# instead of Ab?
@timsherman77323 жыл бұрын
yeah he does play G13b9 not #9. He plays Ab not A#. They're both functionally interchangeable altered tones because of bodal bixture.
@josephmenter12943 жыл бұрын
Thank you
@EM-ln9wf4 жыл бұрын
This is awesome. Thank you
@woojunkim15417 жыл бұрын
Hi, I am a starter in Jazz piano~~~ Your videos are great help to me~!!^^ I was wondering with you can make a video about "practice routine." separating the beginner/Intermediate/Advance. There's a lot to study and I can't get a grasp of what to practice as a beginner
@WalkThatBass7 жыл бұрын
Hi. I do plan to make such a 'how to practice' video eventually. In terms of good exercises to practice, try the following: 1. Playing a II-V-I (or some other common chord progression) in ever key going around the cycle of fifths. So for example, start with a II-V-I in D (Em7, A7, DMaj7) then a II-V-I in G (Am7, D7, GMaj7) then a II-V-I in C (Dm7, G7, CMaj7) and so on. Or alternately, moving down in semitones. a. Play the above II-V-I's with different chord voicings (Rootless chords, shell chords, bud powell voicings, two-handed/spread/open voicings) b. Then play the above II-V-I chords with your left hand and improvise with your right 2. Learn a Jazz Standard and learn to play it in every key. 3. Learn a Jazz Standard using two handed chord voicings which combine chords and melody...in every key 4. Practice Improvising over a Jazz Standard... in every key 5. Try transcribe a solo or part of a solo - or at least find some licks that you like and try replicate them. 6. Play along with a song or a backing track
@ghostfrom19503 жыл бұрын
This is amazing!
@johnmorris59637 жыл бұрын
Howdy there, keep up the good work. Concise and informative.
@WalkThatBass7 жыл бұрын
Thanks, mate. Will do.
@lillianhearne4392 жыл бұрын
Great video as always but the G13#9 in the last two progressions is being played as a G13b9. G13#9 would have two semitone intervals in that voicing, a second one between A# and B.
@ThePoisonBiscuit6 жыл бұрын
Can we hear you play anywhere in a non educational context?
@oso76273 жыл бұрын
penis
@sharpie6607 жыл бұрын
I'm aware that you're not back until January but... In the picture-in-picture at 9:42 or so, your G13#9 chord is listed, as makes sense, as E-F-A#-B. But you seem to be playing E-F-*G#*(or Ab)-B, which is a G13b9 I suppose instead. Is there a reason for this? Not that it makes it significantly less dissonant, what with the semitone E-F and the tritone F-B. We just dropped one semitone.
@kaitobellamy71727 жыл бұрын
This is just a mistake, it's a G13b9 like you said :)
@sharpie6607 жыл бұрын
Yeah I thought as much, but I always like to ask A. Just to be sure, and so B. If he notices he can add an annotation and make sure other people know too.
@WalkThatBass7 жыл бұрын
Ooops. Yep, just a mistake. Sorry. I'll add a note... Good pick up!
@BohemianRhapsody397 жыл бұрын
Came here to ask this, thank you
@medede866 жыл бұрын
You are amazing, thank you so much
@GerryMoningkey5 жыл бұрын
Very useful.. thank you ! 😀
@josephballerini37303 жыл бұрын
great video
@thattablebloke5 жыл бұрын
Super helpful and interesting vid, cheers. How do you visualise the chords? You just memorise all the note of each chord over time?
@oscarresendiz30144 жыл бұрын
yes look up chord theory. How to build the chords they all follow a formula for the root positions build of said chord.
@vincentphan19427 жыл бұрын
As a computer science project do you think it's possible to quantify dissonance or consonance by sequential tones and all intervals in general? Also are overtones related to this? Also can you quantify clarity of sound by analyzing audible overtones? Like why closer lower notes sound muddy?
@WalkThatBass7 жыл бұрын
Yep, it's definitely possible to quantify dissonance and consonance. And you don't even need a computer program, really (at least for the basic idealised version). And it has everything to do with the overtone series. And yes, the overtone series also has everything to do with muddy lower notes. I'm currently planning a few lessons on the overtone series, but in short. Our hearing range is between 20 and 20,000 Hz. If you play a note at 5,000 Hz, then you only hear 4 overtones before they leave your hearing range. Fundamental Freq: 5,000 Hz Overtone: 10,000 15,000 20,000 Hz Whereas you hear lots of overtones from the very low notes and so they appear 'richer' and more 'dense' tend to clash more with other notes (precisely because there are more audible overtones to clash with). Fundamental Freq: 50 Hz Overtone: 100 150 200 etc until 20,000 Hz And consonance and dissonance also has to do with the overtone series. The more overtones two notes share, the more consonant they will sound, so two notes at 100Hz and 200Hz will sound very consonant (They is an octave apart) Note 1 Harmonics: 100 200 300 400 500 etc Note 2 Harmonics: 200 400 600 800 1000 etc Whereas two notes at 100 Hz and 120 Hz will have fewer overtones in common and therefore sound more dissonant. Note 1 Harmonics: 100 200 300 400 500 etc Note 2 Harmonics: 120 240 360 480 600 etc But like I said, I'm currently working on a few videos about this which should hopefully be ready in a month or two.
@Oi-mj6dv2 жыл бұрын
Always usefult
@yogicbeats4 жыл бұрын
i like this
@DimitriSafarikas6 жыл бұрын
I have a question that's troubling me. If CMaj13 can be voiced : E B D A Wouldn't it be closer to a E11 ? (tonic as bass note, 5th and 7th) or even a B11 (contains the tonic, the 3rd, the 7th) ? I guess at this point it's nitpicking, but maybe you could shed some more light on this issue ? ;) Thank you so much for these brilliant videos !!
@mfc05115 жыл бұрын
I always have that same thought, but my assumption is with these rootless voicings are that: a) There's typical a bassist playing the root, so it's advisable not to also play and mask the bassist b) For solo piano - The root is already "implied". I'm led to believe this is after a few progressions that establishing the root in the listener's ear. Surely this may be why so many jazz solos use rootless voicings. Also a note, the voicing you listed as a CMaj13 (E B D A) can't really be considered an E11 as it's missing one of it's most crucial elements, the 3rd (G# in E11). This is especially true for dominant chords as it's the tritone interval between the 3rd & 7th (G# and D) that gives it it's identity. As for B11, it would be Bm11b5 that have the tonic, 3rd and 7th (B D A). However the E stands out, and that would really be the 11. I've never really seen this chord written out before so I'm curious about the usage or if it's just notated differently. The only other voicing I can think of for this combination of notes is E7sus4 but that's a completely different color and is used completely different in relation to the tonic. This was a long-winded answer but hopefully I helped clarify some confusion as I certainly did for myself while thinking this through! haha, now the next step is to have all this in mind real-time.
@HakimNorAzman6 жыл бұрын
This helps alot
@FishyDnB5 жыл бұрын
Wow, great video!
@r0ah6 жыл бұрын
does tjis a apply to modern popular music too?
@rutheproppi62652 жыл бұрын
Maestro: please help me at the time set of 8:29 in this wonderfull video. You are playing the G 13 Sharp 9, here I see you playing, I think the E Note the F Note the #G/bA Note the B Note. My question the chart states you are playing E F #A (A Sharp) B. Please explain to me that you are playing in the video the #G/bA Note. Thank you very much, respectfully, R
@alexfont7 жыл бұрын
Brilliant!! What a channel! 8 )
@amatta_7 жыл бұрын
Much helpful video! thanks! By the way, I wonder which instruction I better follow. 1. In Open Voicing lesson, the Doubling rule allowed only a top note as the root note to double, which you took for an exception of the Doubling rule. 2. But in this lesson, though the example is about a top note as the root note of the chord, it seems that the Doubling rule allows a top note to double any note of the chord. Thank you!:)
@WalkThatBass7 жыл бұрын
Hi. So number 2 is correct. You are allowed to double the top (soprano) note of any voicing, regardless of what note this is. I simplified this rule in the Open Voicings video just cause that is a very simple and basic chord voicing and I didn't want people to start doubling the 3rd unnecessarily. But in reality you can double any note as long as it is the soprano note.
@amatta_7 жыл бұрын
Thank you for the answer! Have a nice day:)
@lesexpos44697 жыл бұрын
Thank you for your great video hopefully you will continue ! I have a question, can we play every diatonic note on a voicing Exemple: on a Cmaj7 we can play C,D,E,F,G,A,B so what is the difference between extension and regular chords ?
@WalkThatBass7 жыл бұрын
Hi, Sorry for my late reply. No, you cannot use every diatonic note in every chord. You have to use available tensions. For example, the natural 11 (F) is not an available tension over a CMaj7 chord, so a CMaj11 is not usually allowed or used (I have a lesson on available tensions which explains this). Instead you would use a CMaj7#11 (C E G B D F# A) - even though the F# is non-diatonic. I also discuss this idea here: kzbin.info/www/bejne/jauvc3RroKiDZ9k
@lesexpos44697 жыл бұрын
Thank you for ansewered my comment ! But we can altered any tensions for any chords. But, altered tensions would bring lot of dissonants sound ?
@antoniosaina74317 жыл бұрын
very cool!
@amelielacerise4 жыл бұрын
Is it normal to get kind of frustrated when you're starting out with rootless/ more complex left hand voicings? I'm currently trying hard to apply those when playing standards and I've known chords for a long time , the shape of them on the piano, what they sound like etc ... but all these new possibilities make it seem like they are completely different chords sometimes... makes it hard to memorize :'( any tips ?
@hiddenblade9996 жыл бұрын
Should inversions follow these rules? In that case, no reason to play the 1st and 3rd inversion of a 7th chord because you would have a semitone in the bass or melody? Similarly, should you not play a maj6 in root position to avoid the secundal interval?
@lioncyr61723 жыл бұрын
I think you mislabeled the Dominant chords in your C major example, aren't you playing a G13b9 chord rather than a G13#9 chord?
@PlasmaGypsy3 жыл бұрын
What's confusing me is that you're playing a 'Cmaj13' at 6:54, but you're playing a B which is the 7th. How come the chord voicing doesn't mention the 7th, and how is someone meant to know to play the B if you were to only say Cmaj13? Thank you for the helpful video!
@ameersbeih67772 жыл бұрын
When you add extensions, the previous extensions are usually implied. Its your option to play it or not, depending on the sound you want. But also, there will be signs telling you not to play certain intervals such as Cmaj13(no7)
@mitrayar7 жыл бұрын
Great video. Thank you Btw, why is it preferable to avoid intervals bigger than perfect fifth in right hand?
@kaitobellamy71727 жыл бұрын
it's a bit like diluating your grenadine syrup too much, by playing large intervals in the right hand, you can loose the quality of the notes. For exemple, playing a second is way more efficience when close to the third (if the third is played or not played by the way), because they influence themselves (like a second without third become a suspended chord,if the interval is too large you loose that "suspended" effect because the second doesn't seem to interract with the missing third anymore). So when you play high, the wilder it gets, the more you lose interactions beetwen the notes, so you loose a bit of your harmony, even if you play the same notes
@mitrayar7 жыл бұрын
Kaito Bellamy Big phat thank you :3
@kaitobellamy71727 жыл бұрын
You're welcome :) it's just my thought about this subject, wait for our god walk that bass to give you a better answer :)
@WalkThatBass7 жыл бұрын
Kaito's answer is spot on. I couldn't have said it better myself. If you play the notes too far apart, they begin to sound a little unrelated (like separate notes, rather than a single chord). The only thing I can add is that the technical reason for this is because notes that are far apart (like more than an octave apart) share fewer overtones so sound less linked. So there are fewer overtones in common between the notes in a 10th compared to the notes in a 3rd. I plan to make a lesson on the overtone series at some stage eventually...just need to find the time.
@mitrayar7 жыл бұрын
Thank you for the answer Btw, first Unanswered Question lecture by Bernstein gave me deeper understanding of overtone series
@rodrigocortez60994 жыл бұрын
8:29 isn't it a G13 FLAT 9? the 9 of G is a A right? in the scheme itself it says A#, but in the piano he's playing G#
@rodrigocortez60994 жыл бұрын
ok saw the comments, little mistake there. It's indeed G13b9 - now departing to the all 12 keys II V I altered sequences. Bye bye
@PaulSebastianM5 жыл бұрын
If the audio quality was reasonable, this would have been a really good online lesson.
@gabrieltafarel7 жыл бұрын
Can I use the note F in order to create a Cmaj11 chord (C E G B D F)? Also, when you say that a Cmaj13 chord can be voiced as E B D A, I tend to visualize this as a Bm7(add11) chord if there's not a C as bass note. Is this correct?
@WalkThatBass7 жыл бұрын
Hi, The natural 11 is not an available tension over a CMaj7 chord, so a CMaj11 is not usually allowed or used (I have a lesson on available tensions which explains this). And when voicing chords, you're allowed to omit certain notes. This, however, does make chords more ambiguous. But that's half the fun! I explain both ideas in context here: kzbin.info/www/bejne/jauvc3RroKiDZ9k
@gabrieltafarel7 жыл бұрын
Thank you! Actually I saw that video two days later my question and finally understood it :)
@BobNL19645 жыл бұрын
Here is a question that's been bugging me. What's the point of a chord having so many extensions that it contains practically every tone of the scale? Through different voicings you can change it into almost any other chord. It makes no sense to me.
@gregorycapricorn4 жыл бұрын
Whats your cash app, you deserve a tip
@lyndaszabomusic4 жыл бұрын
9:58 you are playing a b9 not a sharp 9. Thanks for the vids though, very useful
@SayeNathon5 ай бұрын
kzbin.info/www/bejne/p3_Jl2OEj86LeZo In this part not sure if you meant to say flat9 instead of sharp9. cause it seems like G7b9 chord you are playing there.
@Littletune506 жыл бұрын
You talk to much in your video. Find a way to do less talking. Good video but for advanced students we want more visual then talking. Give more credit to your audience. If they are beginners then they need to watch the beginner videos.
@nathandublin60115 жыл бұрын
I do agree with you he does do a lot of talking not that it's a bad thing for beginners to know the theory behind jazz and how that particular genre of music works with chord voicings jazz players use. I'm more of a visual learner that helps out the person more than giving the student lecture over the topic of discussion.