How To Improvise On Chord Changes (Part 2)

[@kasymmoldogaziev292]

Hello! You are genius of teaching. Thank you. You answer to almost questions that I ask my self or need to know)

[@bowenlayne3363]

Instablaster...

[@vincedonevon316]

Its amazing how you make something that could be complex so simply. You sure have clearness of mind to explain things a simple way. Thanks Vin

[@maksimosipau8407]

Obvious things, but you know this is what is missing on KZbin. When guys with such level are explaining things like these. Man wish you and your channel the best! ;) BTW I got lucky to play with guys at your level, and you know most of them seem to be feeling so special to not even give you an advice how to develop all these skills if you ask them.. Thanks for your content.

[@erikhenchal2088]

Holy Cow! you just reduced my struggle to simple steps. Great work.

[@gacktkun1647]

I'm a Guitar Player, and I must say that this is the easiest explanation about the subject that I've e er encountered. Thanks a lot!

[@gailab4651]

Merci Ruslan. Vous exposez avec clarté un sujet qui donne beaucoup de migraines aux apprentis improvisateurs.

[@antoniolucero6910]

I’m amazed at you and your kind and easy approach to teaching these otherwise convoluted techniques

[@luvkayakn]

Your explanation makes so much sense! Thank you

[@JeremyHerman1]

I've been a Classical Guitarist / Fingerstyle Guitar Composer for close to 30 years. After diligently applying your thought process from your 1st video , I have taken about 50 steps forward in my creative process as well as improvisational skills. Make no mistake though. You have to do the work and trust the process especially if you aren't a pianist like myself. Thank you. You opened up a whole new world for me. I look forward to your new book.

[@ruslanpiano]

jeremy herman oh such good news!!! Yes it’s a ton of work.. but hey, what isn’t?? Any skill worth having takes work. I’m happy I was able to be of service to you, and thank you for sharing this victory with me. If anything keeps me going - it’s testimonies like yours!

[@benjaminlalrinzuala9543]

I never knew that music could be this easy. Thank you Ruslan.

[@Sepharite]

Best teacher on KZbin. Thanks !

[@ruslanpiano]

+Sepharite many thanks!

[@Jazzmarcel]

Twelve seconds in and I am hitting the like button!........👍🏾now, back to your video!

[@creepofreek4853]

You are a great teacher. You make things easy to understand. I hope you make more stuff. Great job man.

[@TomLuschinskiMusic]

Out of all of the videos on improvisation that I have watched on KZbin, yours have to be the easiest to understand. Your videos are so helpful and effective. Thank you.

[@camerongainer1638]

Life changing! This is the secret to flow! Can't believe it's taken this long for me to hear it explained in this way and this simply. Thanks, Ruslan!

[@ruslanpiano]

+Cameron Gainer so happy to hear this!!! :)

[@davidferrie9445]

Even better than the first video. Great stuff Ruslan

[@guinosiqueira1105]

Thanks !!! 😉👍👍

[@henkchierkoet810]

Best jazzteacher ever! Don't need to look any further! Greetings, Henk from Amsterdam, Holland, Europe.

[@ruslanpiano]

Henk Chierkoet thank you my friend!

[@rongketissaranggoonnaayutt6242]

Wow!! It's really useful concept. Thanks a lot Mr.Sirota.

[@jukarodrigues4039]

Excellent idea

[@hztan1263]

Unbelievable you made so many videos for improv! many parts and I'm very excited to watching them all!

[@hahabass]

And I'll say it again. I love you, man! Another great lesson.

[@DovidSal]

Ruslan, second video I see from you. Congratulations my friend, the format compared to the 1st video tremendously improved, and again the easiness associated to the way you explain makes and will make a huge impact on the audience. Please, my advice, keep doing the videos in this way. I m not a piano player, I play saxophone for 13 years now. Even when I don't handle the nomenclature associated to scales, like dorian, etc., etc., I can complete understand what you are explaining and it makes totally sense... chord progression to the nearest note.. I would call it that way. Congratulations again, keep it up!

[@devonk298]

Where can I purchase this book?

[@ignaciojimenez7899]

Que grande eres!! Muchas gracias por esta Máster class Un saludo

[@MrJesuspiano]

Wonderfull

[@clairierehome]

Merci beaucoup 👍🏽🙏🏾

[@dsgwyw]

Thank u sir

[@ytav_boy2820]

Can’t wait for the book to come out!!! Keep it up, Ruslan! Don’t ever change... you’re making an impact in many lives by providing quality content. Blessings.

[@ruslanpiano]

+Y Tavera_ thank you so much!!

[@dcassis]

Fantastic!! 👏👏

[@ronfeggio]

It's rare to find a person who is gifted in so many ways. I was blessed the day I found your videos. "Funny how time flies (when you're having fun)" :)

[@ruslanpiano]

Ron Haha! I see what you did there ;) thank you my friend.

[@derycktaylor3677]

Great lesson. Thanks

[@jezraellucero8031]

Love the simplicity of your concept, This is how we have been taught before. Before the lick revolution begin where people learn stuff with no contacts at all thank you for taking us back where we supposed to be Learning in contacts all the time

[@ruslanpiano]

+Jezrael Lucero :-)

[@danielirilarry]

Great video Ruslan you are a genius both in music and pedagogy!!! Thank you!!!

[@carlcgarrett3]

Love your thorough and systematic approach to this subject. Have you published a video by chance on how to know which scales to play with the more exotic chords? I'm aware that the major scale of each key works well with 2-5-7 progressions, but am just beginning to master this subject.

[@ruslanpiano]

+Carl Garrett I have not. Would you please give me an example of some such exotic chord?

[@vodvandorin9454]

You are awesome the way you explain all this!!!

[@robertphillips6605]

Thanks so much for everything you do to help us aspiring musicians .

[@devonk298]

GOD I NEEDED THIS VIDEO!! Lightbulb moment! Am I the only idiot who has always assumed that the only notes for all these chords are the C Major scale because that is the key we are in?

[@MrRezillo]

Brilliant! Thanks so much for this. I'm an "advanced intermediate" trumpet player. Can't wait for your book. Have to say, I find your instructions even more helpful than some the ones put up by jazz trumpeters. Don't get me wrong; they're all great and extremely helpful, but yours are even more helpful. I wish you all the success you deserve.

[@ruslanpiano]

bixntram Thank you. Teaching comes down to being able to communicate amazing musical ideas, AMAZINGLY. Most teachers are not great players and most great players aren’t great teachers. I never in my life intended to teach and never thought I would. But... here we are :-) I’m glad you find these videos helpful!

[@mickbellfield917]

thanks Ruslan ,im really starting to understand this for the first time ,im looking forward to future posts and bringing them to my practice session

[@thefluteplayer11]

This just opened doors for me!! Thanks a ton !!!

[@anicetjoy5456]

I like it.

[@davidm.wilmington5325]

Just found you, just subscribed - - because you're distilling all the good advice my teachers gave me over the years, but with really good examples (vid and audio). I'll definitely recommend this and Part 1 for teaching and lecture demonstrations. Also - that crazy progression - esp. starting on E - made me think of Angelo Badlamenti's music for "Twin Peaks" (where weirdness makes sense). Thanks!

[@teaforone77]

Simple and efficient! Thanks a lot!

[@hassanmafi2379]

You are awesome Ruslan ....

[@brianbannock9343]

Thanks Rusian.........as a Pro Bass Player (in San Diego / LA) , I found you through Janek........& am so very ready to extend the Soloing theories.......Thanks for this.........I am contemplating different people for these types of Help / Session / Lessons, from Justin Raines, to Scott Ambush, to even possibly you......... I appreciate your even handed approach to this.......... Thanks Brian Bannock

[@artemusgordon3832]

These lessons are great. this is like "John coltrane" stuff and I'm a guitar player. Thanks

[@kiddopiano]

You teach so well

[@kabeersingh8411]

All the best for the book Ruslan 😁it sounds exciting 👍🏽

[@53gitaar]

Top lesson !

[@loudogguitar2813]

Hey Ruslan, I would like to say I discovered your channel earlier this week and your videos have helped me out so much. I am a Berklee Alumni as well. Playing through chord changes is challenging for me. However, these methods you have shared are quite refreshing and have me determined to tackle my most difficult obstacles!

[@ruslanpiano]

Lou D'Alotto IV very cool!

[@livegun5572]

Love ur videos

[@nunolance23]

Thanks so much for this, Ruslan!

[@ruslanpiano]

+nunolance23 my pleasure!!! I hope you found it helpful

[@robertobraga1765]

Ok, no need to respond to this. Just wanna say that I've been following your videos since the very beginning. They keep getting better and you deserve all the likes and new subscribers. Looking forward to the book!

[@ruslanpiano]

Roberto Ruggiero Braga thank you so much for your words. I’ll keep on keeping on

[@-imkon-8557]

Really helpful! Thanks Ruslan

[@terryquinn2042]

Ruslan, I love the way you explain improvisation. Have you any books on this subject! If so where can I get them from? Thank you for passing on your knowledge. Please keep making these videos not only are you a fantastic piano but a great teacher. So once again thank so very much. Terry.

[@jasneskis]

I see you are using a chair with arms. The arms got in my way so I took them off but I do use the back of the chair. You are a great teacher. I really appreciate your videos. Thank you.

[@ruslanpiano]

jasneskis haha I’ll need a new chair soon!!! :)

[@joehernandez5600]

Great lesson!

[@jcarlos7721]

Ruslan, thank you for sharing your valuable information and knowledge. 🎹👌

[@ruslanpiano]

+jcarlos Rodriguez thank you for checking out the channel my friend!!

[@molarbear5136]

hi. thanks for the video. can you explain why the Gb-m is dorian, while the others remain aeolian?

[@CharlesAustin]

Yeah helpful !!

[@alamooji3716]

This was incredibly super incredibly dimension opening! Thank you so much

[@ruslanpiano]

Justin Molanick :)

[@gen_music]

Thank You Ruslan amazing video

[@paulwatsonguitar]

Great video Ruslan. I play guitar but find your approach very useful when thinking about soloing and chord changes. Look forward to seeing you book. Thanks, Paul.

[@7crooney]

You're the best Ruslan!

[@ruslanpiano]

+Caleb Koa thank you so much

[@safisweetkeyz]

I neeeeeeed this book! Thanks for all this amazing content. As soon as the book is up for pre-sale, let us know. Take my money 💰💰

[@ruslanpiano]

safisweetkeyz oh the book will have 8000 times more stuff. For now, check out my first video on this topic and this video. The book will definitely go 900 times deeper.

[@thebom6724]

You're the teacher I've looking for

[@ruslanpiano]

:))

[@nhuhuan66]

I really love your videos, so intuitive. May I ask when your book will be available? Thanks.

[@ruslanpiano]

+Huan Nguyen half way there! Working on two books! Thank you for your interest!!

[@JulioARodriguez]

Mega thumb up to you Rusian! Thank you so much for this video. You are amazing!

[@leowright8016]

Wow thank you for sharing this. I was wonder how to create line that flow instead of trying to use pentatonic ! 🎶🎶🎶🎶🎷😎✌🏽

[@ruslanpiano]

Leo Wright when people leave pentatonics and other tricks behind in favor of the ‘real deal’ is when I know I’m really saving souls!! :) Haha! Thank you for sharing this with me sir!!

[@tobbebergman7583]

Great ! When is the book released ! Thanks !

[@ruslanpiano]

Tobbe Bergman I’ll release a series of short and very cheap books first. The series will be called “before you improvise”.

[@tobbebergman7583]

@@ruslanpiano Looking forward to that ! Love your channel ! Wish you a wonderful weekend ! Cheers !

[@00DirectorsCut00]

Great again sir ! Ho to get on the fly (without previous study the progression) if the minor chords works with natural minor (6th degree ) or if is it Dorian (2nd) ? Thanks

[@alanzelicoff3421]

Simply outstanding. At long last someone -- and that would be you Mr. Sirota -- has provided a clear, unambiguous structure for approaching improvisation over chord changes. Now a request: Would you be willing to take a classic like Autumn leaves (preferably in E-minor but any key is fine) and take us from the 4 rules of improvising over chord changes into an actual application of those rules with some examples of improvisation? Again, your work is as clear an example of teaching excellence via CLEAR use of simple jazz theory to help many of us to the elusive goal of interesting (rather than boring, pro forma) improv. Thank you, THANK YOU. Дякую вам!

[@ruslanpiano]

Alan Zelicoff thank you so much. Yes at some point soon I’m going to take all of my videos, including this one, and start applying them to songs. And make new videos out of THAT! :) I really appreciate your words!!!

[@Joesharpp]

Hey great vid! how do you know which scale to use over which chord ??

[@ruslanpiano]

joe sharp there are many videos on KZbin explaining that. Which is why I didn’t make another video about it.

[@teamopichon]

Hi there, I watched the first video and now this second one and everything seems to make a lot of sense and fall into the right place, but my question now is now that I know how to flow with the chord changes how I can creat interesting lines with that in order to sound nice well and interesting, Thanks a lot!

[@papajanian]

Wow absolutely right, as you mentioned choosing the right scale is the most important for the notes that will match the new chord like G,minor to D,major ! the D,major also Compatible with G,melodic minor when Ascending cause we have the F# !! then F & E flat Descending back to G,minor .😁

[@cafiristanemperor]

Hey, once again, thank you so much for your invaluable help! I'm already eager to read your book! By the way, I know that what I'm going to ask may be difficult due to the cost of publishing, but you should consider thinking about how to connect the book to other media, especially with backing tracks for exercises, maybe one with ideas for solos and another only with the comping... also making the drums and bass on one channel and the comping piano on the other one, so we could extract the most of the material. Again, thank you, thank you so much! You are getting famous in my university course! More and more people are getting nuts with your teaching!

[@ruslanpiano]

cafiristanemperor yup, I’m going to make a play-along master pack. It just all takes time. Finishing one book now. Got 3 more in the work. Thank you for your encouraging words! I’d love to come and do a clinic at your university! :) if you guys dig the channel and could speak to whoever needs to be spoken to at the school - maybe it could happen! :)

[@affanlatanete5877]

I try and learn this concept.. How make this concept for solo..?

[@Roibineux]

Hello, thanks so much for your generous teachings. I would like to know when your book will be ready and where to get it.

[@ruslanpiano]

Roibineux thank you for your interest. Books are in the works. For now I launched an online school. www.musicmadebetter.com check it out. I hope it’s to your liking!!

[@micheldindaine8403]

MAN !! THIS IS SUPER POWERFULL !! I am a bass player looking for efficients tips on impro. and I must say that this couldn't be better explained. I will also practice those ideas over arpeggios. question: has the book " HOW TO PLAY OVER CHORD CHANGES" already been released ? please let me know. your videos are very helpfull and encouraging. Cheers from France.

[@marioquijada8085]

Hi ! When are you going to release your book?

[@ruslanpiano]

Mario Quijada writing it now. Aiming at around summer time release

[@marioquijada8085]

@@ruslanpiano thank you!! I Will be waiting for it

[@donnyawa8870]

I am excited to have a copy of your book my friend. Please let us know when it is available. Thank you for all the valuable lessons :-)

[@ruslanpiano]

Donny Awa thank you for your time and interest!!!

[@donnyawa8870]

@@ruslanpiano ♥

[@SaxyPickwick]

near the beginning of this video you say you have to know which chord scale goes with what chord, that's my problem, how to identify which scale goes with which chords, I'm 83 year old musician ( Tenor & Alto sax ),who has played for years by ear, I didn't know my chords only recently studied chords but I sound like I'm playing scales, your first video was great you showed scales to those chords Gm & Ebm but not how to find them, great video, Ray Pickwick P.S enjoyed this video to thanks.

[@ruslanpiano]

Thank you so much for writing, Ray. I created an entire video course for this purpose, because this is a big problem for a lot of people. You can check it out here: www.musicmadebetter.com/courses/chordscales-fundamentals

[@rommelfernandez9723]

Wow, a new tool to stay away from boredom !

[@davesax11]

Ruslan. please post a wait list for your book. pdf or hard copy? Lots of luck.

[@neocolors]

Great way of thinking, makes it seem so easy, thank you! What do you recommend if "avoid notes" (like the natural 4 on a major chord) are the next note to play when the chord changes? Playing F G A B p.e. doesn't a lot like c major. It makes me want to play chromatics to hit a chord tone, or even skip notes, but it doesn't sound as fluid anymore. Or is it just part of the process to find a way that works? Suggestions? Thanks a lot!

[@ruslanpiano]

Both chromatic and skipping are fine. It’s all about playing what you HEAR in your head

[@neocolors]

@@ruslanpiano thanks!!

[@precisionhoops365]

Hi , did you finish your book? If so, I would like a copy ASAP !

[@louiserichard1729]

Please let me know when the book is released Thanks

[@jensclarberg6419]

When applying this over say modal interchange do you always think of the root key or do you adjust it keeping the root the same and using correspondent modes?

[@ruslanpiano]

Jens Clarberg hmm could you possibly explain your question in another way? I’m trying to understand what exactly you mean

[@jensclarberg6419]

@@ruslanpiano Hi. Thanks for your answer. I just mean in songs like the standard 'Beatrice' for example, you have FMaj, GbMaj+4, FMaj, EbMaj+4. Do you see them as this, i.e F Ionian, Gb Lydian, F Ionian and Eb Lydian or in their modal counterparts i.e F Ionian, F Phrygian, F Mixolydian? I know essentially you're playing the same notes but I always felt like when playing tunes based on modal interchanges you tend to hit more of the "right notes" when thinking of them as all from the same root. Thanks.

[@ruslanpiano]

Jens Clarberg understood. Great question. Yea, I DEFINITELY think of the as the FIRST option you listed. Why? Because hitting the right notes is only the beginning. There all kinds of other relationships in there, tensions and releases etc. root motion etc. that I personally can only process in relation to the root of each chord. I need to register the emotional impact of each note. And that impact is impossible to measure anywhere outside of how that note relates to the Bass (root) of the chord. The bass VS note relationship IS how a note “feels”. Any note only feels in some way or another in the context of it’s relatedness to the bass that’s underneath it. So I need to be very clear on that emotional relationship of each scale note to the bass. HOW IS SHUFFLING F MODES AROUND HELP ME WITH THAT? Sure, it helps me avoid bad notes. But ... what... avoiding bad notes?? THATS ALL? :) avoiding bad notes is not the end of the journey. It’s only the beginning. When i learned how to play the right notes, Next I will need to make emotional decisions about which ones to play and when. And I can only make those decisions based on the emotional impact of each note. And as I said - how a note relates to the bass underneath it is all the emotional impact a note carries in the first place. How a flat 9 feels is literally inscribed in its own name!!! A flat 9 to what note??!!!! What is that note a flat 9 TO??? To the freakin BASS note! That’s what! How does a #11 feel? Well... why is it even called a #11??? What is it a #11 to??? It’s a #11 to one thing and to one thing alone - to the god damn ROOT! The relationship a note has with the root is the very fabric of it’s emotional impact. Hence yes, F ionian, F# lydian, F ionian, Eb Lydian. That’s what i need!! Give me those tension/root relationships. Those are the colors with which I paint. If I divorce my choice of notes from their relationship to the bass that’s underneath them, then how am I even supposed to emotionally evaluate each choice before making it?? Based on what? The relationship of those notes to the bass IS their emotional impact. What else am I supposed to base my choice of notes on?? :) and so, I have to only think of each chord scale in relation to its root!!! Or else I lose the index of the emotional significances of each note. Now, maybe some people manage to achieve this with the second method u listed and simply think of modes regardless of their bass notes and as soon as the bass note hits they assess the emotional relationship of each note to the bass. Maybe some people can do that. I can’t. To me that method just sounds like a short cut and quick fix to give you the right notes. Ellis Marsalis said once: “those who play for applause - that’s all they get” (applause and nothing else). Meaning - they miss out on a lot of other depth in their shallow pursuit of applause. My twist on this saying here would be: “those who seek the right notes - that’s all they get” (meaning - the right scale notes is all you will get that way, if you only care about that. And you won’t get to properly shuffle around the pallet of each note’s emotional significance (I.e. it’s relation to the bass). Just me. Like I said - maybe other people manage somehow. I don’t.

[@jensclarberg6419]

@@ruslanpiano Thank you for your in depth and very passionate answer! That makes perfect sense and actually my process is the same. For example when playing over a ii-v-i it's much easier to find the palette of notes when playing them all as separate chords than to think of everything as one scale because then the 11 of the I chord becomes the minor 3rd of the II chord and so on and there's no real stability to finding the notes you seek. I guess this is also what you are referring to? I was mostly curious if this was always your process no matter in what manner the song has been written but you have made it clear now so thank you! Hope to see you in April with Bob, Janek and Chaun.

[@ruslanpiano]

Jens Clarberg yea, I never really did things in any different way.

[@francescomanfredi]

Great and refreshing perspective using only quarter notes! Now please a follow up using eighths and chord tones on strong beats as they usually teach in bebop, but I will follow you on any direction you choose

[@cafiristanemperor]

Hey, Ruslan, have you already published your book? I'd like to order it if you did!

[@JulianFernandez]

gold

[@juanjose4264]

when is the book coming out??

[@ruslanpiano]

Juan jose working on it. Not sure exactly. Probably end of the year.

[@PlaybySoul]

I’m looking for your book. Is it available?

[@ruslanpiano]

Sakon Sangiamsak very soon my friend. I’ll announce it here on the channel too!

[@johankjolbro9064]

Hey Ruslan, I really appreciate your videos and I am looking forward to seeing what else you have to offer. I was wondering how you approach modal playing, because every person I ask gives me a different anwser. Maybe you could help shed some light on the topic. Thanks again!

[@ruslanpiano]

I’m happy to answer, but I need to understand what exactly you mean by your question. There is no playing in the universe that’s not on some level “modal”. When you go from C major chord to G minor chord and back to C major, you get a simple, consonant chord progression ... as soon as you start improvising on it, you are playing Modally. Because the first chord takes a C Ionian mode, the second chord takes G Dorian mode and so on. Something tells me you didn’t really mean THAT in your question, did you? So what exactly do you mean by modal playing?

[@ruslanpiano]

You mean mc coy stuff. I see! Well it’s that open 4ths stuff. So those open voicings are the main color there. And then moving things up and down chromatically. Those are the main two ingredients really. And then other voicings that are also “modal sounding”. Like Herbie Hancock’s stuff. Finding motifs and moving them around chromatically, while hopefully keeping unified melodic structure in your lines. Developing themes etc. that’s how I think of that

[@bobfridge]

Hi man thanks for the tips! I have been focusing a lot on harmony and chords but I am very weak when it comes to improvisation and I haven’t learnt much songs. Can you please gives me tips on how to balance out my practice sessions and focus more on musicality? There is so much to work on and to do and I want to have a more focused approach to improving my jazz vocabulary and expanding my jazz repertoire

[@ruslanpiano]

+Bob Fridge just one step at a time. Pick 2-3 topics and focus on those for a month or so. Then re-assess. Like the rest of us, you probably have 800 things you could improve and work on. I know I sure do. But it’s ok - find the most urgent ones and attack those first.

[@shaunsax]

Nice stuff how do you think of this when your playing chords that are held for the whole bar do you then play 8 notes of the scale instead of 4?

[@ruslanpiano]

Shaun Thomas yea something like that. It’s more so important to just stick to the scale some way while the chord rings. The goal here is not so much meticulous execution of rules, this is more about matching the right scales to the chords in front of you. If a chord is playing, and the notes you are using over it are of the right chord scale - then you’re doing it right, whether 8 notes or 63.

[@rda7262]

Ruslan, thank you so much for providing such valuable content. The thing I struggle the most during my practice sessions is how much time one should spend with one exercise before moving on to the next. For example, one could practice 2-3 or 15-20 exercises in a 3h session. What works best for you? Thanks

[@ruslanpiano]

RDA it’s not even so much about how many exercises you should fit into a practice session.. it’s more about how many topics are you working on and tying to improve at the same time. Personally, I would not be pursuing more than 3 topics at a time, no matter what. Decide what 2-3 you want to work on and for the next month - and for a month, just work on THOSE few topics. Then you can reassess, and drop one of them and start working on another topic. Or you can reassess after a month and decide you still want to pursue the same 2-3 topics. Or you can keep one and switch two. Etc etc.. but spend some weeks working on the same 2-3 topics, so that your efforts STICK. In Russian there is a saying: “if you chase too many rabbits at the same time - you will catch neither”.

[@dennisa946]

A query - how does one know which mode/scale to use with each chord? Have I missed that?

[@dennisa946]

Oh I've just found your video which addresses this query!

[@m4ksoo]

Que acento lindo