I always had difficulty understanding rootless chords and you just opened my eyes. Thank you so very much!! ❤
@vicmartinez45329 ай бұрын
Thank you so much for your lessons for Free ... Keep it up .. It's the only channel .. thank you for being so humble
@MangoldProject9 ай бұрын
Thanks! Don't forget to tune in next week as well, the lesson (on chord substitutions) is already up and will be released on Nov. 17.
@allinthemind20066 ай бұрын
This is an incredible series of videos. Im learning a lot!
@martinp0019 ай бұрын
Thank you for sharing your knowledge ! :-)
@chriscatapano17889 ай бұрын
This is such good stuff. It really helps to explain the why behind many of the chords we see. I would recommend these lessons to any aspiring pianist. Thnak you
@coloaten66829 ай бұрын
Another quality lesson. Thanks. Looking forward to the rest of the series! :)
@stadiumboy95299 ай бұрын
Fantastic. Thanks.❤
@vicmartinez45329 ай бұрын
Very Good Lesson
@rickrocketts1839 ай бұрын
Great lesson!
@ratan1559 ай бұрын
Thankyou sir ...
@AndreSpiegel8 ай бұрын
I really appreciate your course. I have never seen these concepts explained so clearly and systematically. You have given me more insight into jazz piano than I'd gathered in years before. The one thing that's mysterious to me is what you mean by "memorizing" those chords. Do you mean (a) "being able to construct these chords on the fly"? Or (b) "internalizing the finger pattern for a given voicing in all 12 keys" so you can play it without thinking? Maybe (a) is step 1 and (b) is the ultimate goal?
@MangoldProject8 ай бұрын
Thanks Andre. Aren't a & b the same? Being able to play something on-the-fly implies you can play it without thinking, no?
@AndreSpiegel8 ай бұрын
@@MangoldProject I guess the goal is that I see "Am11" on the sheet and my fingers just know what to do, just like I type words on a keyboard. I'm wondering what I should memorize in order to get there. Should I memorize: "an Am11 has a 1, 3, 5, a 7 and a 9 and an 11 added to it, do it the Herbie Hancock way and take the 1 and the 5 in the left hand, where you might as well omit them, and leave the 3, 7, 9 and 11 in the right hand" (and obviously, do this really fast, until it becomes subconscious). Or should I memorize the shape that my hand makes when I play 3, 7, 9 and 11 together, and associate that with the symbol "Am11"? With the second approach, I might not even remember how to arrive at that hand shape, but I know it's a minor 11 chord.
@albertosierraalta32239 ай бұрын
Will you talk in a future lesson about when is preferable to play a particular advanced chord or voicing??? This is the hardest for me. I can construct these chords and different voices but when trying to reharmonize something it gets tricky. For example, I can change a C for a Cmaj7 or C9, o even C13 but when I'm going to next chord is difficult to know which possibility is good. I know our ears are the ultimate judge but I would be nice to have some guidance in this regard instead of playing every possibility for C, then every possibility for F and then for G and trying to figure out what works. Thanks for this great series!
@MangoldProject9 ай бұрын
In jazz there's no such thing as just "C" - it's either Cmaj7 or C7 in the original sheet music. The first cannot be changed to C13, the latter can. Swap only chords of the same type for the same type (major for major, dominant for dominant, minor for minor). This should reduce your options dramatically. There are also other considerations such as voice leading, or a particular "motion" that you're trying to execute which is more important than the immediate chord (Charles Mingus once said there are no wrong notes in jazz, only wrong resolutions). We'll probably work through a tune or two in a few lessons, once we've covered all of functional harmony (which, by the way, is not all of jazz-related harmony ;) ).
@albertosierraalta32239 ай бұрын
@@MangoldProject Thanks for the reply. I know in Jazz there isn't a "simple" C. I was talking more in general, not in the jazz context specifically, sorry for the confusion. Like for example in trying to reharmonize a simple kid's song. There seems to be and infinite way of choosing chords, alterations etc. I'll take the advice that you're mentioning here However it would be very valuable (if you can) to talk more in depth on why some chords substitutions work better than other in a given context. I feel many channels (not yours specifically, you're one of the better ones without a doubt) when they teach advanced chords is usually "Listen to this pretty chord, now listen to this other nice chord" and so on, then they put it together and sounds wonderful but they usually don't go in depth in explaining why these alterations work together, or why they didn't choose some other alterations, or why some types of chords don't go well together
@MangoldProject9 ай бұрын
@@albertosierraalta3223 Ah, yes, that's going to be discussed in a video on scale-chord duality (around lesson 12 or so, if I can count :) ). Basically, the idea is that you should be asking yourself "what scale am I playing in?" and choose your chords based on that.
@albertosierraalta32239 ай бұрын
@@MangoldProject That sounds cool man. Can't wait! Thanks again for this series and all your videos in general. They've helped a lot of people including myself💪🙏
@MangoldProject9 ай бұрын
@@albertosierraalta3223Sure. And there's one possible more answer to your question: they cheat. They learn a sequence of 2, 3, or 4 chords that sounds good together and they play it over and over. This sometimes is also why their voice leading is perfect on-the-fly (because they've already played those chords *in that order* many times before). There is no "shame" to that, by the way. Again, imitation is the sincerest form of flattery, true as ever in music as well.
@francescomanfredi9 ай бұрын
Great lesson! By the way could you explain the pattern you used to improvise at 3:54 please?
@MangoldProject9 ай бұрын
Yes, I'm basically almost-randomly running up and down on the notes that make up the C major scale, avoiding the "avoid note" (fourth degree, F) and mostly-avoiding the root (C). Just try any pattern with the notes D, E, G, A, B, and it will sound pretty good (you can also think of it as playing the G pentatonic scale).
@smashedpasta3 ай бұрын
In 6:51, how come E and F together not plausible but in a C13#11 the Bb and A are fine together? I’m sorry if this question is answered later, I’m commenting this as I’m watching
@MangoldProject3 ай бұрын
You almost confused me :) Bb and A = major 7th E and F = minor 9th
@wahyupap7631Ай бұрын
I have a problem to do inversion with chord like this. Especially chord with 13. Example is C13, this chord has all of the white notes. I've tried to ommit some of them but it sounds weird
@MangoldProjectАй бұрын
A C13 is missing one white note (B), because it's C E G Bb D F A. The F is also omitted because it clashes with the E (minor 9th interval). Even so, inversions are not useful concepts when you have so many notes. If you keep just the "important" ones - Bb, E, A (7th, 3rd, 13th) - you can have a bit more flexibility and try to invert, but again, inversions are just not very useful. This actually gives me an idea for a video ...
@wahyupap7631Ай бұрын
Yea, but you said to add more and more note to make it more interesting. But i will wait for the next video you will upload. Love your video ❤@@MangoldProject
@jimdoggett53849 ай бұрын
How do I get to lesson 1 you are too advanced for me.
@MangoldProject9 ай бұрын
there's a link to the course playlist in the description.
@grizzlymartin18 ай бұрын
@4:35 can you explain why you call the F a “minor 9th?
@grizzlymartin18 ай бұрын
Is it because you started on E and walked up the Emaj scale?
@MangoldProject8 ай бұрын
I'm referring to a minor 9th *interval*, meaning 13 semitones. The interval between E and F an octave above it is a minor ninth (just count up 13 semitones from E). No need to bring in scales.