Hard not being called from all those shiny video on youtube 
. We havent have access with such quantity of information when we were younger. But this Pandora’s box is such a temptation and so easy to get out of focus of our goals. I am the first concern to go in too much directions and lost my way… and hope my childrens and youger generation will not be lost in all that.
youtube culture is growing and try to capture the young generation even more those days… we have grown with TV, they are growing with internet, education must really integrate this new fact. We all have to learn again ,how to manage such a quantity of information…
end of my two minutes of philosophy 
Not at all Smole, please share anything of interest here in the forum.
Grant’s video is a wonderful display of left hand voicings and right hand improvisation.
The key point we must understand is that by transcribing little ‘pieces of vocabulary’ from recordings, that is precisely how one absorbs the feel, the groove, and the syncopation, which is paramount to playing this music with conviction.
The long term value you will get from aurally working out a solo will far exceed the benefit of copying a solo visually.
I’m back in Manchester UK now and I will get to work on recording my transcription of the start of Wynton’s solo over “Sassy”.
Finally, with the left hand you mention that you have trouble hearing, working out every note in the voicings he’s playing is not essential.
Instead, focus on the rhythm, the placement, and the syncopation of his left hand. Try to count where he places his left hand voicings in the bar. Often he doesn’t play anything, and he certainly doesn’t put it on beat 1 of each bar. That is a sure way to kill the groove.
You will hear a lot of anticipation (the chord falling a half step before the chord change, which is usually the & of 2, or the & of 4). Once you can hear this, copy the rhythmic aspect and simply use the left hand voicings that we covered in the course on the 12 bar blues… chances are that he will not be deviating far away from those anyway.
Again very similar to what Grant plays above. Lots of b7-3-13 voicings, and 3-b7-b9/#9.
Yes it’s an interesting shift Pierre.
YouTube has fundamentally changed the way that we seek and access information.
I agree that one of the challenges is how to manage and navigate through such vast quantities of information on the internet these days… YouTube Suggested Videos can take us on some real tangents! 
You are, as usual “spot on” with the suggestions. I am focusing, at present, on your course on Blues and paying attention to rhythm is my focal point. Also, in listening to Kelly, Garland, some other recording, I am paying attention to the LH and its playing (not the chords, your Blues course takes care of that).
I am also revisiting, now quiet seriously, the Autumn Leaves; the tune has so much supporting materials within PG that I just have to take advantage of it all.
Eagerly awaiting your transcription from Kelly’s playing. Best, Smole
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This is a very good piece of advice when transcribing. I have been struggling with those left hand voicings. Thank you.
Hi Toshihiro 
Yes another good tip is to pay attention to the top note of the voicing, this is also known as the “chord melody”.
This more applies in an accompaniment setting, for example under a bass solo when you are trying to work out the chord voicings, start by trying to match the top note in the voicing, because that is the most important.
Often you will hear that the top note of subsequent comping voicings creates its own ‘chord melody’.
Also @toshihiro859997 - I have recorded a jazzy Christmas lesson on the tune “Winter Wonderland” which I am aiming to edit asap. Cheers!
Pierre, I share the same experience with Youtube. One video leads to another and, before long, I lost my focus and direction and have to take some time off to get back to my priorities. On occasion, though, I find something that helps. For example:
seems to be a faithful transcription performance of a part of Kelly’s Sassy and this is where one can see the work of LH that helps.
[I put Kelly’s Sassy through Goldwave Audio Editor program to enhance the sounds to be able to focus on the LH as Hayden suggested and it helped a great deal. I just have to stay focused on the task and net get lost in the Youtube temptations.
Best, Smole
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Hayden,
Thank you for another tip. The ‘Chord Melody’ is something new to me, but it sounds interesting. So, I will pay more attention to those top notes and see if I can hear the ‘Melody.’
Wonderful ! I’ll check it out when it’s ready.
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Wonderful recording… nice find Smole!
I’ve just had my recording equipment delivered today and I will create my version shortly with overhead shot. I’ll also explain how and why I transcribe.
Lets keep my routine going no recording this week no time … but still on the road 
In btw i learn the chords change for Please send me someone to love. At first reading was not sure if it was about prostitution 
but the lyrics reassured me 
; great song I am in love with it … this gospelish flavour so cool
https://www.youtube.com/watch?v=NQ6rWfOCjjY
for next Tuesday
-
memorize part B of Foolish heart
-
transposing part of Wynton Kelly 's version of Autumn leaves
-
singing someone to love in my bathroom
Pierre, here’s another version of "Song for my Father by Johnny “Hammond” Smith. Enjoy.
https://www.youtube.com/watch?v=cQ2WUzLQIUI
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Hayden could i ask you I try the transcription of right hand Autumn leaves by Wynton Kelly
So impressive to slow down his solo and discovering how clean and clear are the notes of his solo . The articulation so great and, so much nuances in his playing Awesome !. So fluid and easy to hear … and at the tempo he plays it was hard to figure out.
I begin the transcription at 0.54 but it seems he reharmonize the theme
Cm7 l F7 lBm7 E7 l Bbm7 Eb7 (notl BbM7 EbM7l)… arg it disturb me a long time before understanding what was wrong !
Not at all easy this exercice wow 
and playing flawlessly is not win !!! even for 4 measures ! even at slow tempo ! 
i wrote the right hand notes and begin trying to fit the measures …
but was a wrong method ; i will try differently next time. I think i should use the bars markers first with !transcribe and then looking for the notes … mistakes learn us much
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Yes I certainly can do Pierre.
I’m just finishing a transcription of Wynton Kelly’s “Sassy” for @smole.
I had already transcribed the first time through the solo (0:45 - 1:15) and I then decided I better do the head of the tune too which is twice through the chorus (0:00 to 0:45).
This was more challenging than i thought it was going to be 
, but I now I have (0:00 to 1:15) of the recording… I can play it 95% accurately at tempo so almost ready to record and share it in the forum with some analysis of what he is playing. Here’s the record I’ve been working from:
Anyhow, back to Autumn Leaves…
Earlier this year I found 3 versions of Autumn Leaves by the Wynton Kelly Trio.
Check in your Spotify, you will find Take 1, Take 2, & Take 3. Maybe even more versions too, but those were the ones I was listening to.
I transcribed a little of the material from this one:
and I also like this one too:
Yes I agree.
I had the same trouble with “Sassy”, but i’m seeing improvement everyday when I come back to it.
I find it effective to play along with the record, tapping my foot/heel on the quarter beat, and then I do that over and over to emulate Wynton’s phrasing.
I then switch over to the iRealPro, and continue tapping my foot/heel on the quarter beat as I play the solo. I then hear the bits that sound solid and in-tempo, and I also hear the bits that are very off from a rhythmic standpoint. I then go back to the recording and play along with it again, focusing on the parts where it sounded weak with iRealPro.
I can work out the notes by ear relatively quickly, for me it is the rhythmic accuracy that takes the time… I spend too much time playing rubato ballads 
but this is great practice for me to improve at in-tempo playing.
Which of Wynton’s “Autumn Leaves” record are you working from? Please share the video link below and we can work on it together 
Thank you, Hayden, really. I feel deeply gratified that had a small, instrumental part in your deciding to do a new video on Kelly’s Sassy and that all of us, your students, will be able to benefit from it.
Listening to Kelly I can appreciate the characterization of his playing as ‘crisp’, ‘elegant’, ‘delicate’, all of these make sense to me (hope, others too). I tried copying hitting each note separately as he seems to do and it produces such a lovely way of playing (I hope to be able to do more of it over time).
Back to work. And thanks again, Hayden. Smole
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Hey and thanks fo your help
it was following your suggestion you put some post ago :
Good point… I forgot about that change he plays… slightly different to what we cover in the lesson on PianoGroove.
I think he plays this…
C-7 / F7 / B-7 E7 / Ebmaj7
A-7b5 / D7 / G-7 / % /
Which is the tritone sub ii-7 and V7 going into Ebmaj7.
I need to study the recording more!
this EbMaj7 realy crash with the solo Eb7 fit but i hear the bass playing Bb Eb and Bbm Eb7 fit much more with his solo line (really insisting on Db ) than EbM … sorry to insist master 
Lets keep going
…another week without recording but … i feel too alone here … and takes time to do it . so probably recording a month will be my rhythm or if i struggle with something in particular.
so next week
-
continue transcribing effort on Autumn leaves Kelly version
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memorizing the C part of My foolish heart … really not an easy one to remember
-
begining some blues and this Percy Mayfield one in F and maybe going to another blues like Straight no Chaser for next month
I’ll get involved in the Autumn Leaves transcription and post a recording 
One day when I add Kelly’s Sassy and Autumn Leaves to my “repertoire” I will celebrate a major accomplishment. Thank you, Hayden, for all this work. Smole