Thank you for watching my video again. I am very glad that you like my performance.
As you recommend it to us in Sean Dokko’s topic, the left-hand rootless voicing really frees up my right hand. That makes it easier to play some nice melody lines with right hand. I think I like playing in this style. So, I’ll keep working on this and develop it.
Yes, I think I am good at tweaking the melody with those grace notes and chromaticism, which will help make it sound Jazzy.
Lyndol has already recorded 2 or 3 vocal Christmas songs, and I need to choose some more for solo piano. I will get them done this week and notify you as soon as they are ready. I will make a recording of myself performing them too.
Yes that is exactly why rootless voicings are so useful. The movement is so slight between the fingers, that it’s easy to commit it to muscle memory and apply all of your energy and focus to right hand improvisation.
I’m really happy to hear you have discovered, understood, and applied these voicings Toshihiro… great job!
Yes very tastefully applied. One of the limitations of the piano is that we cannot get ‘in between’ notes, or pitches.
Unlike horn players for example who can play half way in between pitches.
The thing that we can do as piano players is grace note, and slide in between to get that kind of effect… you do that beautifully and the sound is fantastic… congrats
It is very nice of you to make such positive remarks on my play and its method.
There are still lots of things to learn ahead and I keep moving forword little by little.
Ok. I am looking forword to those new Christmas songs. I’ll check them out
when they’re ready. Thank you, Hayden.
This morning i hear those lovely colors after playing some Kenny Barron voicing. And i record it in dressing gown, my dog just sitting next me for adding even more emotion
In A Sentimental Mood Springs Mood spring to mind because it starts with the 11 in the melody over the D-, and so those Kenny Barron voicings will set the ‘mood’ beautifully
I will play around with this today and post a video back.
That was fun to watch and learn. My brain and ear don’t automatically know the alterations (that my hands seem to find on their own) and I have to stop and think about what you say. But I’m working on Laura right now and doing my best NOT to plow ahead just learning the tune — but actually sitting on one section of the video for a longer while and viewing and saying out aloud “ flat 9, sharp 11 “ and such. Thank you so much for all your hard work Hayden!
Top Quality!!
This has given me a nice idea for a 5-min masterclass… I will record it tomorrow. Here’s the exercise I will outline:
Take any 251, and place the alteration at the top of the V7 chord, start with b9, then #9, then #11, then #5. Play the top note repeatedly, and really listen to the colour/texture/tension that is created, and where it wants to resolve… That is a nice exercise to develop aural recognition of altered tensions.
When there’s multiple alterations in the chord - ie. Upper Structure Triads - it can be harder to discern each tension/colour individually. That comes with time. But on their on their own, they are much easier to distinguish.
My friend, it takes me a loooong time to learn a tune… I will try and share one I actually can play. . I promise I will figure out how to record something. You have been an inspiration.
Hey Lori … Trust me sharing our playing here … is a great booster for improving … we just need to put our ego aside , i admit … but thats an incredible starter for playing more .
than the backtrack comping a bit heavy to my ears .
enjoy!
. I promise I will figure out how to record something. You have been an inspiration.