Why I Stopped Using Scales

[@cafiristanemperor]

Without any irony implied, I think that composers from the baroque period, especially Bach, Telemann and Handel would have approved this lesson! I think that the concept or ornamentation and figured bass revolve around this concept of hinging. They only seemed to have different terminology like appoggiaturas, port-de-voix, mordents, passing notes etc. People think that only solo instruments do that (I play recorder and concert flute) but the musician that was playing the figured bass or continuo on a keyboard was also expected to smooth his way to the next chord in the harmony. Cheers from Brazil and thank you for the Wonderful lesson!

[@tomhenderson6673]

What I love about this concept is, I spent a lot of lockdown learning harmony, but eventually it got too nerdy and I wanted to start forgetting it, get more intuitive. Hingeing is in between being mathy and just trying things out for your ears.

[@skramdurosnob9794]

Id rather hear someone follow their intuitive ear and blow it/make it work than hear more g damn Berklee funk/jazz. Might as well listen to AI if jazz is going to become a formula.

[@Gnurklesquimp2]

My very favorite thing about making music is the free flow where you get all sorts of ideas in all sorts of ways. Traditional theory, abstract stuff, and a lot of the time, just doing what your ear is drawn to naturally. I never really try to sound traditional, I'll tap into stuff so it's good to know the rules, but they're never rules to me. When you get to the super out there mathy stuff that isn't confined to tradition (At least not the same ones), you start to realize the approaches you can take are endless, and you might as well just play around and grab some cool ideas from others to do your own thing with, I MUCH prefer that sandbox approach to making music.

[@TheRealMusic4Life]

​@skramdurosnob9794 this is an underrated comment. I'm the same way with drums. Tons of talented, technically savvy drummers everywhere, but few who can actually bring that drumset to life and make you feel what's being played.

[@guilllaumes]

This concept is both liberating and grounding at the same time. Grounding from being able to see how important that basic R-3-5-7 chord is and small changes can be still all in reference from that same chord and leading to the next. and liberating from a dogmatic view / approach to scales and building chords from scale degrees in thirds and having to explain small changes with modal mixture, parallel keys and so on. Absolutely mindblowing!

[@kaiser724]

One crazy thing is being able to play and teach at the same time, really appreciate it

[@jameswatson5501]

You are an excellent teacher. I find that harmony is the inspiration for both improvisation and melodic song composition, much less scales.

[@careygoldfine7431]

I feel I’ve been liberated from worrying about what the vertical nomenclature is/should be and just concentrate on the fundamental chord progression and then hinge to the ‘colors’ you hear in your head. Can’t thank you enough. You’re the best!!

[@frankgradus9474]

well said

[@guycollishaw1957]

As a once 'converted' guitar player, this is one of the most digestible lessons I've ever watched. I do a lot of hinging which I felt was a coping mechanism lmao, it's nice to stop and think wtf I'm actually doing since my ear is ahead of my technique and my scales are diabolical.

[@eugeneponomarov7429]

Epic lesson, thank you!

[@pnojazz]

Inner voice personified!❤

[@capleaux5508]

This is very interesting. I come from a more vocal background. The origin of my perception of music theory was in my High School chorus class, where we attached pitches to hand signs (inspired by Guido of Arezzo, Sarah Anna Glover, John Curwen, and Zoltán Kodály). I feel as though this hinging idea was always the primary form of structure in my piano playing up until I started attempting to sight read in college. In my mind, before and after I learned any theory beyond the Solfege in HS chorus, every chord had its own scale (meaning I never ever minded that a diatonic scale was important). I would learn by simply playing. Eventually, I made my own sort of language with it, where I would move to certain chords that I had never heard anyone else use before. I also never transposed my progressions, out of fear that it only would sound exactly right if it were in the key in which it was originally created. This is also why I am less comfortable in the key of Eb Major when improvising. So while some people spent time transposing everything to new keys, I spent that time creating new melodies/motifs in whatever key I felt they belonged in. So I suppose I understood keys and modes, but never studied them. Interestingly, my dexterity is not anything special, because scales and arpeggios did not exist in my practicing unless by ear or by tutorials on KZbin or else composed by me. Still, this is awesome that you teach this method here, because it is the only structure I have ever really known and used.

[@dr.rolanddavis]

Adam Mannes & Open Studio, Thank you for your artistry and insights … wonderful years of videos. I wish you health and joy. And, many more rapturous musical moments in 2024 ! -Dr D p.s. Brookmeyer, Bob Florence, Gil Goldstein, et al. old school masters I studied with: it’s all about “hinging” to create countermelodies, voice leading, arrangements, etc.

[@laouofisiel9039]

This video is really incredible ! Thanks a lot Adam !

[@skylinemusicvideo]

Cut my teeth on Russ Garcia's book as a fledgling arranger years ago, and it certainly influenced my "inner voice" writing for sax section and other ensembles. But in those days I had only the most rudimentary piano skills--coming up on trumpet--so eventually I intuitively applied some of those sounds on piano, but without the "hinge" concept . I really appreciate putting it all into perspective so the theory framework can be internalized. Thanks Adam and Open Studio for all you do!

[@claudialincoln6300]

That was beautiful! I don’t fully understand everything you’re talking about yet. I’m about to buy a piano and I’m so excited!!! Your channel along with You’ll Hear It, has inspired me to come back to the piano after 25 years. I had no idea I was such a fan of jazz until I came across your channel. Thank you for the amazing content you, Peter, and the whole team create!!!

[@jonnyroxx7172]

This is Free? Seriously? THANK YOU!

[@markusfrey4256]

...that opens and stretches the mind at the same time, great!

[@ElliottMilesMcKinley69]

Man, thank you for this. I similarly teach this approach (I spend a lot of time on voice leading, or what I call the "inevitability of tones"). But this is very well done. By the way, my pop was a jazz pianist and a classical composer--taught at NEC for almost 30 years (Tom McKinley) and I had such a lucky upbringing with cats like Miroslav (Vitous), Eddie Gomez, John Scofield, et al just hanging and jamming in the living room. My pop knew thousands of tunes...

[@azirusS]

thank you so much Adam for your simplicity and your wish to share ❤

[@jacquesancillon6635]

hello and sorry I use google translate. I find it interesting to breathe and listen around us ... in fact I have too often noticed that the most important problem of musicians is their egos, so "focusing on oneself" is not always good ..... Learning to listen others or what is around , is much more important. So bravo Adam for this little meditation of listening inside turned outwards.

[@2good2beuntrue]

teacher I've always been looking for, tysm for this !

[@DanielBarberMusic]

Super fun lesson... Along with the lesson with Peter today about restricted practice using 4-note voicings, I'm super excited about doing a deep dive into playing chords through LISTENing much more deeply, but now with a theoretical framework that can help keep things coherent along the ways. Thanks a ton for all you're doing to help us all bring more inspiration to the creative musical feast.

[@TheClassicalSauce]

Amen. It's all about voice leading.

[@cristinaafonso5003]

Oh Adam, this is great, I love this! Thank you very much for sharing

[@hermanremus1098]

Great way of thinking horizontal instead of vertical all the time with keeping that 1357 as structure...Adam this is great stuff.

[@billycm8370]

Wonderful teachers, fine humans Thank you for sharing I’m saving up

[@lauracrimsonmusic]

I love your videos! My piano teacher explained this concept to me not too long ago, your lessons are so aligned with mine lol! I'm so so so lucky to have a teacher like him and to have teachers like you at Open Studio through these videos 🥰

[@coreyschuck7579]

Man the timing of this video is uncanny in my practice progress and therefore so so welcome!

[@toddwisenbaker]

Same I’m so ready for this one

[@joeblakeukeman]

Hey this is great, I love it, thank you! I play piano and like to transfer as much as possible to guitar , tuned in all 4ths, which means all chords and scales are instantly moveable anywhere on the neck. This has a logical consistency to it, much like piano. I stumbled cross your hinge concept in the process of organising the fretboard in a way I could grasp and remember. A major advantage in skipping all those little add-ons to basic chord symbols. 👍 Great presentation.

[@pallmall7385]

Watched the whole video. Mind blown and inspired... Explains so much of music...

[@joequint]

So as bass player, I agree with the hinging concept. We do that all the time. It’s a little different, but for me I like to link chords with the melody that is going on especially in the tenor zone of the instrument. Anymore, I play CCM and it makes the music feel more connected vs jumping around (or as you say vanilla) . For me it’s about taste though. Too busy, things get distracting and I’m not doing my job as the bass. Much like you said, I don’t care about the scale, I care about the melody. Sometimes I miss and our band leader gives me a serious stink face and says “dude why you jazzing?” Lol or I just totally ham something and that’s ok. I just play confidently and roll with it to something that sounds good quickly.

[@toddwisenbaker]

What a great lesson!! Thank you so much

[@kennethnashe5461]

Thanks for following up on the hinging concept

[@ParadoxReloaded]

I am literally the 65k views, I use the intro as a background to play on, you can't actually know how good is it, I improved so much on this

[@guitargod6997]

Love the vibe and the sounds! Wonderfully inspiring. Thanks!

[@AlexVonCrank]

So great. What a lesson!

[@yemiajiteru978]

I really suck at notation. But I found that it really helped me when you played each chord tone in the chord section. I hope you do that in your future videos

[@saxiroth6647]

i’m a saxophone player and i still find this incredibly useful

[@danielo174]

Incredible lesson. Thanks

[@kb7890]

Fantastic! Appreciate this content very much!

[@jeromemeltzermusic1493]

Excellent lesson. So nicely presented and explained. Some great sounds with the moving lines . 🎉

[@sarailastra7300]

Wow. Amazing class. THANK YOU, Adam!!!

[@tebogojmogotshi8473]

Thank you so much. This is a great lesson.

[@HeathenHammer80]

I love playing E flat minor 7 hinged to a C flat major 7 and just going back and forth and improvising.

[@thisisbubblegumx]

This is closer to how I was taught in classical theory. We did a lot of chorale writing and the voice leading was focused on moving the notes of the chord. We didn't talk much about scales besides major and minor.

[@joeldavies509]

Amazing, thank you! 🙏

[@pjbpiano]

It is always great to see people discover and rediscover music principles that have existed for well over five hundred years. If there is anyone here who has studied species counterpoint (especially tonal counterpoint), they would see like I have, that this hinge technique is simply a section of fourth species counterpoint where you suspend one chord tone before you resolve it. This is basically a hinting at species counterpoint for four voices using the chord tones of seventh chords as your consonant notes. I hope he keeps developing this idea until he realizes the actual potential in moving all four voices according to great voice leading. Cheers!

[@williammaestre9318]

thanks master Maness

[@HeathenHammer80]

10:18 Gershwin immediately came to mind!

[@patomotta]

Very good explained, thank you!!!

[@jiminippo]

It's great! By turning this into mechanics instead of reharmonization gymnastics, a lot of mental space is freed!

[@Klaverskolen]

Great lesson!

[@will_e8837]

Brilliant help to develop my piano!

[@felipeelbrujosanchez1257]

Hi just to let you know I had this book by mr. Garcia back around 1969 it was my first experience with music theory,I was just trying to teach myself,what got me into the book was to learn 3 part harmony so I could arraange for a horn section,and that was what I concentrated on since I'm a guitar player and also horn player,just a few facts this book was part of the UCLA music theory coarse and Mr. Garcia worked as a screen music writer and he he wrote the score to the 1960 version of H.G.Wells The Time Machine

[@GanjaGabe]

thanks a lot for your videos....i love the way you teach. its a lot of useful information. and great quality.. spread the music!!!

[@BestFitSquareChannel]

“One more time just cuz it’s so damn beautiful.” indeed.

[@RKisBae]

Honestly man, I don't understand 90% of what you are talking about. I'm impressed simply by the fact that you can speak conversationally while playing and all while staring at me with those crystal blueish eyes.

[@dennyhw5496]

Terima kasih.

[@EuphoniaPooch]

another cool lesson

[@paulosena584]

This is mind blowing🤯! This content is so precious!! Keep up the good work guys!!

[@BobMazzo]

Thanks Adam.🤟

[@eblue9620]

This might sound silly, but my entry point into this type of thinking on guitar was studying Jimmy Hendrix approach to chord playing and expanding from there, very freeing.

[@benjaminwlang]

This is REALLY cool.

[@alcibiademinel]

Fun fact, as a classical musician, I always thought to arrangement that way. I now have to go in the opposite direction and learn about some scales and some extended chords as blocks, to acquire more real time skills.

[@TheLabyrinthofLimitations]

Hey Adam! I always love following these. Do you mind sharing what lighting (and maybe what lens) you use? I'm trying to up my game just a bit:)

[@DavidJohnson-yg8qm]

Illuminating and enjoyable, well thank you for this lesson. That's my work cut out for a week (or more I think) just in the scale of C 😂😂

[@jayumble8390]

Don't forget everyone if you come across a G7altered chord, the same thing applies to Bb7 Alt., Db7 Alt., and E7 Alt. So in essence there are only three altered dominant chords / constructs...E7 Alt. (which includes G7, Bb7, Db7) F7 Alt (which includes Ab7, B7, D7) and F#7 Alt. (which includes A7, C7, Eb7). This stuff is so much fun!! Btw Adam, man you are incredible!!! Thank you!

[@johnd.4536]

The alt chord contains no fifth so Galt contains no D natural which is in every alt scale of associated keys in your example that only works for full diminished chords.

[@chrisbardolph]

Listen to the strings and horns on vocal arrangements of jazz standards. Sinatra, Dean Martin etc... All sorts of beautiful moving voices rather than rigid static chords.

[@pigmaliontseyor]

Thanks for inspiration

[@MattScottMusic]

You’ve rediscovered appoggiaturas!

[@packetlevel]

Holy moly! Thank you -

[@whatilearnttoday5295]

When Barry Harris would say "borrow" I'd always think "huh". It's not borrowed from anywhere, it's just a note. Extra level of cognition.

[@johnnyx53]

Me-(and those who seek more about real music techniques): Watch Adam Maness and Open Studio Everyone else: Watch “I’ll teach you a hundred songs in one hour!”

[@xCaptainJoex]

That this video was created through live stream is powerful. To explain and play the concept is impressive; The feeling is it is a very high production quality video. For example, showing the sheet music on screen with red coloring to the hinged notes is deeply helpful to the viewer. The drum metronome gives credence to those who are ready to practice playing in the group setting. Scales are the most important concept to practice. Source: Ned's Declassified School Survival Guide Tip#692.PMB - Practice and master the basics. The video I am commenting offers the intermediate level player a way to combine the tones of a scale, musically. The chord notations shown in this video are commonly found in lead sheets for various genres of music which is great for keys players backing a singer. For the above stated reasons I award this video 5 Stars

[@carlerikhedlv8023]

So inspiring, endless :)

[@belindadrake5487]

Great stuff!! Thank you. 😃👍🏾🎹😈✨

[@eraz0rhead]

"These spread voices can be very handy" -- I see what you did there :)

[@Pooter-it4yg]

Charts used to be written eg Dm7 G7 C but you were expected to play extensions, alterations and movements in an appropriate style (and use your ears to not clash with the melody on the head). Notation like Dm9 G7913 C69 started to appear both to teach specific voicings and as clarification on transcriptions at the end of the '70s or so but if you listened to experienced players they were never sticking rigidly to them. If you played with them and they put a chart in front of you it would usually be just the meat and potatoes version. It echoes the way we conceptualised and remembered tunes - not as ii11no9 V7b9#1113 C69 for this part of the tune and something different elsewhere but as ii V I everywhere and use your ears. You're rediscovering the wheel, my friend, and I'm sure you won't be offended by that. Everything in music is an island - you can sail towards it from multiple directions in multiple conditions but you still wind up eating the same coconuts.

[@Tomijee]

Didn't watch video yet, just thought from a title. When training, use, listen and play scales.. Get familiar different sounds and possibilities, listen all kind of music open minded, suddenly scales become "unnecessary" and one can play with all the colors that mind shows.

[@EricRobillard-b4j]

Using scales? I think knowing them is important. It’s a must

[@victorsizer8671]

Thank you

[@losthobos]

Pure Gold ..

[@ili626]

29:38 I’ve never found it to be awkward. That’s been a main “hinge” of mine for years

[@onthesearch5]

Danke!

[@jean-pierremarinalonzo3204]

Beautyfull, thank yoo.

[@NewGuy-l4c]

Just read the PDF I play guitar, just wondering it kinda looks like note borrowing from Harris? Is it kinda similar or? ... I'll have to listen to the hinge concept later tonight. Always appreciate any info Adam and the channel offer.

[@winstonschwarz1636]

Great video.

[@Eduardo2011pianista]

Beautiful.... From Chile

[@gianpierobrozzo7832]

Great! 💙

[@chrismusic1837]

Spill the wine by war with Eric Burdon? Kind of felt that our key signature reminded me of that

[@kathiefleming2830]

Percussion seems too loud in comparison

[@EnglishRain]

True

[@keystoanotherworld]

Not to a drummer haha

[@markbra]

Gee, how can I explain it to you without hurting your feelings.

[@Bashanvibe]

Bruh😞really 🤦🏽‍♂️ is it that serious 😞😂😂😂

[@soulcraftloops]

Chill

[@ernstlieber4340]

This is so joyful! To me - playing the piano for 50 years+ and always fighting with the highly "intellectual" notion, that Jazz-Theory and Teaching has taken for decades (Sometimes I feel this had happened to make Jazz more an "elite" topic..) this is now like setting me back free again. An amazing approach, far superior to the Berkley-dominated elite-stuff. I can feel how you try to explain that these (berkley) things are still useful... for professional reasons - and at the same time luckily letting go the outdated elite-stuff :)

[@narwhal844]

Would you recommend mastering chord scale theory first before trying hinging, especially for soloing?

[@IRACEMABABU]

Better to craft a scale based on the chord(s) you play than the contrary. More creative, and the result is you don't sound the same that all the berklee clones out there...

[@OlivvYeah]

Do you think that the hinging approach can be applied to your melodic improvisation?

[@borriskarlov8140]

freakin bravo!

[@Gnurklesquimp2]

36:00 This progression would go SO well in a Pokemon Diamond/Pearl town at night

[@Arypalacios.]

thanks!!!!!!!!!!

[@victorsparks3408]

Thank you for a great lesson! I noticed that the hinges go up or down in either a half or a whole step. Is there some kind of rule that governs this movement?

[@pjbpiano]

Well, if you go further than a whole step, you would hinge that note into the next chord tone (which basically means one of the chord voices has disappeared). There is not any room to hinge beyond a minor third since all the chords are spaced a major or minor third apart. In addition to this, the note choices are decided on the role of the chord. If major seventh chords cannot tolerate a lot of half steps, but dom7 chords can. So you would see a lot more half step hinges on Dom7 chords than on maj7 chords. Even with that, a maj7 acting as the IV of a key can accept more alterations than a maj7 acting as the I of the chord. Min7 chords are a little more flexible as well. But not as much as dom7 chords.

[@gemsfromhistorysdustpan2.070]

Wow, i always thought that using medieval modes with jazz was an obstacle

[@marcoduurenvan4212]

I love the concept, but how does this work with slashchords? Or with inversions? I mean, is the bas-note always the actual chord....?