Thanks, Kevin! You're welcome any time (I mean, let me know first...)

Thank you so much, Brenda! ❤️ 🌹 ❤️

Thanks much, Joe! You’ll have to come over and play this piano at some point!

Yes - Bird uses 3-5-7-9 arpeggios all the time.

Hi Ariel! This one wasn't about the left hand, but I'm playing shell voicings/bass shells. This video gives a breakdown: kzfaq.info/get/bejne/f9h-mqWStKvRYoE.html

@@JeremySiskind you’re the best, super talented & helping->Blessings🙏🏽

Many thanks, snooze! Sending my best!

Thanks for watching, Tom! It’s a basic exercise with potentially profound implications. Happy practicing!

Many thanks, Fritz! Thanks for spending your time with me!

Perfect! Thank you, Rick!

Many thanks for watching, Marky!

I'm very glad! Thanks much, JGS! (good initials by the way - at least the "JS" part)

Niiiiice. Hopefully you've mastered it by now! 😂

Thanks for watching, Kirsten! Happy practicing!

Thank you so much! So far, so good!

Thanks for watching, George! I appreciate it!

Yay, thanks for watching, Pat!

@JeremySiskind does that mean I have free jazz piano lessons 🙏? Just kidding 😂 😜 Great stuff sir 👏 🙌

Many thanks for watching, Gavin!

Awesome! I miss you, Eric! Come visit soon!

I did one video with Danny Ziemann about basslines and I’ve got some information about walking basslines in Jazz Piano Fundamentals, Book 2, if you’re interested. 😊

I might bring in some more books - I miss the bookcase too! Nice to see your name pop up here, Bethany! Take care!

Thanks so much, Kenny. Happy practicing!

Thanks! You’ve gotta come check it out someday, Josh!

@@JeremySiskind I’d love to. We’ll do a jazz-off on camera.

Wooo! Best ever!!!

Thank you! I want to do some sort of video tour at some point down the road (not that it’s that exciting, but we’re proud of it)

Thanks very much, Martin! I’ll be doing more with Sound and lighting down the road, but it’s just a victory to move in for now.

Many thanks, Stuart!!!

This exercise is about in the sixth unit of my first jazz piano fundamentals book and I usually teach it about two months into my first class at the college, so I would say, it’s pretty close to beginning level

@@JeremySiskind Thank you very much Jeremy

Thank you! When it’s really totally done, I’ll post some kind of a tour video so you can see it all. I’m very lucky!!!

I’d master the 3-5-7-9 first and then expand outwards to other inversions. The 3-5-7-9 I that order is pretty fundamental to the jazz idiom but the more inversions you know, the more options you’ll have

Haha, happy practicing, Woody!

You can just use the ninth from the key, a higher ninth from outside of the key, or replace the ninth with the root. If you use the ninth from outside of the key, just make sure you resolve it in the next measure.

@@JeremySiskindthanks a lot I will try them! 😊

Studio!!!!! Thanks for watching!

Sound over looks, though... I'd rather see the mic than hear clipping or a vocal/piano imbalance. Would a boom, that has overhead capability, still achieve a balance? I still hear a little piano clipping (distortion when the mic is overloaded) when he digs in, towards the end, so the mic and placement aren't perfect yet (assuming the goal is to achieve a good balance between voice and piano, with as little clipping as possible). But IDK... a boom stand, or one of those skinny unobtrusive but expensive NPR Tiny Desk mics, could be a waste of money for this specific situation. Maybe if the existing mic was placed further to the right, so the notation would block it from view? But then, the piano tone would be brighter, and the vocal/piano mix might be off. During this video, I was looking mostly at the lead sheet, TBH, since I didn't know the chords to One Note Samba. Since the mic wasn't blocking that, I didn't really pay it much attention. BTW, congratulations, Jeremy, on the new studio!

I appreciate the suggestion! Thanks for that!

Did Barry think of it as Bb maj/D?

@@jonasaras Not sure. The 9th of every diatonic 7th chord is in the scale of the 1 chord (Bb) except the 9th of the 3 chord (Dm7). Nowadays it is generally accepted.

Jobim used a lot of iii chords in his tunes - and usually the natural 9 doesn't work with the melody. Though, in my experience, he'll use the natural 9th during the blowing often enough! glad to know I'm not the only stickler for the 9th on the iii chord though lol

Thank you Tony. Good reminder

@@TonyWinston I think I’m siding with Barry on that. A Dmi7-9 CHORD sounds horrible (-3 and -9 in the same structure). However, using the scale of the I (Bb major) is correct. Similarly, the vii half-diminished has the same issue. The ninth in the tonic scale creates a mi7b5-9 chord. You either have to not use the -9 in the chord or make it a natural ninth to avoid the vertical harmonic clash.

Thanks for watching, D Fish H 1!

Oh no! Sorry for that. I’m always working to improve my equipment. Hopefully it will keep getting good better.

You’re right that E is it outside of the key! Some people might reinterpret that chord as Bb/D. That’s a fine thing to do but definitely changes the color of this tune in particular. I think harmony’s a little bit more nuanced that to say that that note is “wrong,” especially in this context or that a Dm can never have a natural 9 in Bb. It frequently can! We can use notes outside of the key as long as they resolve to notes inside the key. (I’d also say Dm is function as the ii of ii rather than the iii in this case).

Thanks for watching, Dan! Happy practicing!