Using "Key Centers" Instead of "Chord-Scale Relationships

[@WoodyGamesUK]

You're a great pianist, and the best jazz piano teacher online. You really are the best, it's not so much about the material that you show, but the way you demonstrate the ideas with your playing. You really focus on one point, but manage to illustrate what you're doing going from the very basic idea, up to your usual professional level. We learn so much this way.

[@JeremySiskind]

This is so kind! Thank you, Romain!

[@erikkihss]

Yes, what choices you make are usually better determined by the "cadences" or what tonality are we aiming for. Too much emphasis is placed on scales and modes in today's jazz pedagogy and not enough on analysis of the harmony. Great video, Jeremy!

[@JeremySiskind]

Amen, sir! Can I get a hallelujah?

[@future62]

I love this way of thinking and kind of moved to it naturally. I feel like with enough improv you get a natural feel for "good" and "avoid" notes over each chord, so just operating in the context of scales gives you less to think about. Sometimes I make up scales too, looking for common notes between weird successive chords to make up something to get through it smoothly.

[@JeremySiskind]

Love it! I can tell that your mind (and ears) is already open.

[@sanferrera]

14:11 Jeremy improvising without even putting his pencil down :)) Thanks for everything, Jeremy, I am improving a lot with your fundamentals book.

[@JeremySiskind]

Lol, that's totally how you know someone's been teaching piano for way too long. 😂

[@rainerschnelle1]

I very much agree with you and I have always wondered why this way of thinking is not much more talked about. Having said that, I just listened to Oscar Peterson's version of "All of Me" while looking at the transcription and I noticed that a lot of times, at least in the second chorus when he goes into double time lines he is thinking mostly mixolydian on the dominant chords. I had noticed this before when I listened to his version of "Wave" where you find also some V/V/Vs and V/Vs etc.

[@JeremySiskind]

Yes! I don't think the two approaches are mutually exclusive and "right/wrong." If you watch my video about the iii chord, one of the things that I discuss is that you can "dip into" the chord-scales of some of these chords in order to get more colorful/bright/or even "out" sounding material. Thanks for this comment - it's very insightful.

[@chrisharrison809]

Whoa your solo at the end is heavy man. This is deep. Thank you

[@JeremySiskind]

That's so kind! Thanks. Let me know if you have any questions or subjects you want me to cover.

[@kareemakhtar6691]

The professor and practitioner… amazing as always …

[@JeremySiskind]

You're too kind, Kareem! I hope you're well, friend!

[@paulkreibich5327]

Hi Jeremy, this was SO helpful. Especially for students like me who are struggling to make all those dominant cycles(Jordu etc) My brain and chops don’t work that fast (yet) Thank you!

[@JeremySiskind]

Thanks - it really helps me! Let's play music again soon, buddy!

[@genekelly3961]

This concept is so helpful for improvising. Use both modal centers and chord scales. This contrast can make improvisations more palatable and less "out" sounding. So the choice might depend upon the effect you are going for and your audience. Not to mention that playing key centers involves less brain-work, LOL!

[@JeremySiskind]

Yes! Both choices can absolutely work! I think for some reason we often "teach" chord-scales before key centers. Thanks for that, Gene!

[@reddustdiecastmodelrail1499]

Great stuff ! Good lesson ! Thanks !

[@TommyCosterMusic]

Great stuff Jeremy...13:08 brilliant evolution from diatonic to chromatic, to blues and then side stepping.

[@JeremySiskind]

Thanks much, Tommy! I'm looking forward to meeting with you! Hopefully soon!

[@TommyCosterMusic]

@@JeremySiskind yes!!!

[@lutherhughes7091]

You NEVER disappoint ! Thanks Jeremy.

[@JeremySiskind]

Aw, thank you! YOU never disappoint, Luther Hughes!

[@AnotherMomentWithDave]

Outstanding insight as always Jeremy! Thank you!

[@JeremySiskind]

It's my pleasure, David! Thanks for checking it out!

[@Jack-fs2im]

very good,mmmm thinking cap needed.thanx

[@JeremySiskind]

Put on that thinking cap, sir! (Or madam)

[@Jack-fs2im]

@@JeremySiskind I practice from yr vids.but keep stopping to think and lose my way.aaarrgh sooo frustrating,but will keep trying.thanx v much

[@chrisharrison809]

Wow. Wow. Man you are a great teacher. Thank you.

[@JeremySiskind]

Thank you! It's my pleasure!

[@FREIMUZIC]

Fantastic lesson!

[@JeremySiskind]

Thank you so much! I hope it helps!

[@CorneliusTsen]

Great lesson, Jeremy!

[@JeremySiskind]

Thanks much, Cornelius! Cheers!

[@dfaria1000]

Really nice learning... Thanks.

[@Ludada101]

My book arrives tomorrow Yay

[@JeremySiskind]

Yessssss! Let me know what you think! (but only if you like it, of course. 😂)

[@barisaxo]

I feel like this is very unconventional, possibly controversial take, but for All of Me, I agree with what you're saying about the A7 tonicizing Dm (and Dm being more of a tonic minor). I think it would actually make a lot of sense to label the RN of Dm as a i/ii, as apposed to say the ii/I aka ii (the 'of I' obviously being implied in RNA to the point of complete omission). This gives some light to the function of the Dm, as well as it's relation as 'the key of the moment' to the overall key of the tune. Not really necessary, but I can see some times where things are complicated enough that this might help my thought process.

[@JeremySiskind]

I think I see what you're saying, which is that the D minor has two functions. It is both the i of the moment and the ii. I think that's totally correct and totally normal and I think it can be interpreted in both ways...with slightly different harmonic results. However, that A7 leading into it only relates do D minor and should be treated as part of the Dm key center, yes?

[@barisaxo]

Yup, trying to convey a tonality of D Minor at that moment with V/ii - i/ii RNA. As opposed to toncizations where the you see a lot of ii - V chained in such a way that the ii is functioning as a ii in a ii-V and never as a true cadence. Pretty sure I'm overanalyzing at this point, and should just go play some music =) but thank you for indulging me. Your videos are great! I wish I would had taken some of your classes back when I was in SoCal!

[@groovelove3361]

I also heard some Monk as you moved away from diatonic, in AMB. Nice!

[@GAoctavio]

I love Monk's version of Lulu!

[@JeremySiskind]

Yeah!!! Amazing stuff!

[@ivannagy8911]

Great tips, good to practice. Lulu’s Back in Town is a Harry Warren song. Fat’s is playing it great :) Actually everything what Fat’s plays I tend to think this is his piece.

[@JeremySiskind]

Oh my gosh, thank you for that correction!!!

[@larry4589]

thanks again...really insightful

[@JeremySiskind]

No problem, Lawrence! Have a great weekend!

[@antoniofragassomusic]

Hi Jeremy can you make a video where you explain how to play fast over the chord changes? Thanks a lot for you jazz education videos. I have your book.

[@JeremySiskind]

Have you watched this one? kzbin.info/www/bejne/hZzddZSOnquGna8

[@fviannaval]

I'm a guitar player, but the video was very useful, thanks!!!

[@JeremySiskind]

Hey, nobody’s perfect 😂 (okay, sorry for the joke and I’m happy you liked the video!)

[@fviannaval]

@@JeremySiskind 😄

[@carl-emildonschristensen1146]

Thanks for your video, Jeremy, I really enjoy your videos as a conservatory student, they're very focused and applicable. I am wondering, do you have some suggested listening for "ionian" phrases so to say, melodies in the key? Other players like Keith Jarret that does this a lot? Can be on horns too!

[@JeremySiskind]

Hey Car-Emil. I'm sorry I missed your question - it's such an interesting one.

[@JeremySiskind]

Fred Hersch and Paul Bley also come to mind as one of my favorites for this (although, he's one of my favorite pianists in general). Some of the Europeans like Tord Gustavsen or Marcin Wasilewski also tend to do this well. If this is an area of interest, learning some folk songs would also be a great way to go, as these are usually diatonic and have memorable melodies.

[@carl-emildonschristensen1146]

@@JeremySiskind Thank you, I will check them out!

[@pranav_chandar_jazz]

I am an intermediate jazz pianist and I must say this is a great video! However, I was wondering if we could use key centers for non diatonic/non functional harmony. I usually use individual chord’s scales But I’ve watched people use one scale for a bunch of non diatonic chord changes and they sounded great.

[@Osnosis]

Resolution of a line is the key.

[@pranav_chandar_jazz]

@@Osnosis so you are saying, if if there are a bunch of dissonant chord changes, we can play the scale of the chord that resolves the progression at last and it will work?

[@Osnosis]

@@pranav_chandar_jazz yes, but you have to know the underlying chords precisely so you land 100% on the resolution.

[@pranav_chandar_jazz]

@@Osnosis thanks for answering

[@barryo5158]

I’ve been improvising for many years and I almost never think of scales, though I do have an awareness of them somewhere in the back of my mind which I think is more related to technique than improvisation. I mostly think about several sounds which are majory, minory, dominanty, lydiany, diminishy, altery, bluesy, and out. As far as key centers, I commit them to memory in big chunks just as you described. Thank you!

[@JeremySiskind]

Awesome! Sounds like you're on the right track. Scales can certainly be helpful to learn new sounds or conquer difficult progressions, but I think your approach is much healthier. :)

[@paulkreibich5327]

Can you use this method on, say, the bridges of Rhythm changes or Jordu? Those progressions seem to revolve around the dominant arpeggios. Can you treat the Rhythm bridge as just a big 3 6 2 5 back to Bb?

[@JeremySiskind]

Paul! Great to hear from you! Those dominants... probably each need their own scale because they are *secondary* dominants, meaning that they're in the key of the key center in which they're the V chord. In rhythm changes, D7 is momentarily in G, C7 is momentarily in the key of F major, etc.

[@austinjoiner5968]

So whenever we borrow a chord from another scale such as that E7 in All of Me from the A minor scale, we use the scale from the key we borrow from? Is there any guideline for when to use melodic or harmonic minor?

[@martynramsden]

Hi Jeremy, how did you find the time to record this awesome post on key centres with your lavish playboy lifestyle! 😉👌😁🎹

[@JeremySiskind]

Just between frolics with beautiful ladies. 😂

[@JoshWalshMusic]

I will do everything in my power to support your “playboy lifestyle”

[@JeremySiskind]

Lol, I forgot I said that!

[@lilycrawford543]

hi Jeremy！I want to buy your book on Paypal，is there a way？

[@JeremySiskind]

Yep! You can PayPal me at [e-mail] and put in the memo what book you want. $15 for each PDF (I don’t sell hard copies via PayPal)

[@woolyd.436]

I drank milk and ate chocolate to this.

[@jimjennings7623]

I hear the principle you're using (in Lulu). However I need more illustration. Your L.H. doesn't vary between the two concepts. So this is a R.H. improv. technique. Okay, so you're not playing 4 arpeggiated chord variations but one F-major scale, right? Show me more about that. I'm not as clear as you think I am. Thanks! I learn a lot from you.

[@JeremySiskind]

Hi Jim! Yes, it's a right hand improv technique. Yes, you're correct. I'm playing the F major scale in the right hand even as the chord changes, because they key center for the entire progression is F major. We might need to talk more in depth - feel free to schedule a lesson (you'll find a scheduling link in the details for the video)