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lisp is a very nice programming language

Would you do anything different if you play rootless with the left hand?

😢 damn good !

This is great

Key points (for reference): - try sticking to 3 5 7 9 of each chord when playing within the arpeggios - this means the right hand will play the major, half diminished, and minor 7th chords (in order) a diatonic third above each root of the ii, the V, and the I (F major 7 above D = Dm9, etc.) - adding chromatic lower neighbors before notes in the arpeggio give us other note options - to start, try and pick just 2 chromatic lower neighbors (ex. 3rd + 9th) - don’t forget you can play the tritone sub over the original V root (Db7 over the G bass) (this creates better voice leading and removes jumps in range)

Slippers

I've been playing with some quartal voicings on "All of Me." Since most of the chords in that tune hold over for two full measures, it seems a good standard for that experiment. As always, your video is very helpful. Thanks!

All the inversions of every chord are killing me.

Hey Jeremy - thank you for sharing your amazing skill set with us; I always learn so much and get inspired just listening to you play. I looked up the lead sheet for "The Nearness of You", and of course -- as with most lead sheets I've seen so far -- there were only 1 or 2 chords given per measure, not 4 as you were playing (and advising us to practice with the alternating 3 tenths, or full measure of 4 tenths). I'm still a green novice to jazz, so not sure how to pick "fill" chords (?) as you did. Also, it seems that even though you and my lead sheet are both in key of F, your chords don't match it, even on strong beats 1 and 3. For ex., my lead sheet says M.1: F maj7 M.2: C m7, F7, M.3: Bb maj7 M.4: Bb dim7, for reference. I know there is much flexibility in harmony and chord choice, but I was trying to find a good source piece to practice pre-written tenths with 4 chords per measure. Not sure if that exists. Thank you for all the inspiration!

Superb as always, and a great look at trying the ideas rather than the intimidating finished product.

Thank you Jeremy , is this transcription in your book ?

Suggestion: get a boom mic stand.

Another great video! The thirds make all the differenth, I mean difference.

Shouldn't you not use the flat 13 on the F13 because of the D natural in the melody? Isn't that why they notated that dominant chord as F13 (information not instruction?)?

May the 4th be with you

Excellent lesson, but maybe you could invest in a lavalier (clip on mic).

sixththshthsthsthshtsthsts

As I already said Jeremy, I am very glad that you are still contributing to Tonebase! Thank you, Michael

Thank you Jeremy,,,May the fourths be with you!

sometimes it’s hard to find a true jazz pianist but tonight think i found that🙌🏻

"That's where we live, baby!"...😂🤣🤣

Jeremy, Thank you very much for Basics of Jazz Theory course! Michael

GREAT STRATEGIES FOR THAT 10TH! THANKS!

Inversion!

I love your videos!

Inversion! Thank you so much Jeremy. Its so refreshing to hear these tips after years of jazz school telling us we must have the extensions on chords.

Congratulations and thank you.

Thanks J, good tips, and inspired me to sit down and play.

Thanks so much Jeremy. Your “simple” in version sounds great.

I very much like the chords used « in version » two… Great vid, thanks!

Inversion

Funny.

Vinerison!

Inversion!

Inversion. Great video :)

So for Jeremy, of the 2 versions of Waltz for Debby, instrumental and lyrical, the instrumental is the "in" version. I think I am using the word correctly. ;)

oh Jeremy those harmonisations that you play at the end after you modulate to A major are BEAUTIFUL <3 definitely stealing them :D Thank you for this lesson!

@08:07 Waltz for Debby voicing suggestions @14:43 Simple version performance @15:20 More complex performance

Your step 4 was outrageously killing… 🙈

Hoy can you go from right to left?

You look in your prime, I love this! Just started learning it myself

Ellaine and Nenette …. 😉

When you're changing the chords more than just when the chords change, are you doing reharms (i noticed a couple i think) or just shuffling around between chord tones and extensions/tensions on the chord with your right hand?

Ok seriously, I’m a bit late to the party, but this dude kicks serious ass all over the place with this.. I never thought about doing this and I’ve been composing and playing since the late 80s… I am headed to the Roland right now to try this out..

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