Thanks! Got yourself pinned :)

❤

Haha, I didn't really explain it though! Perhaps "demonstrated" might be a better word for it.

@@smoothbuddha7212 Why don't you do just that? Try playing what's demonstrated in the video in every key, I think that might help.

more like a whole year

Why, thank you. Please also don't forget to subscribe, like, donate, visit my patreon, subscribestar, paypal, bitcoin, send flowers, love letters, serenade, and share on facebook, twitter, instagram, myspace, tumblr, IRC, whatsapp and your local BBS.

@@MangoldProjectGold. hahaha!

@@MangoldProject bruh😂😂😂😂

Learn the scales, practice improvisation, there's no getting around that.

@@fuzati3000 Totally. But I bet MP has a load of useful stuff to share which he's learned - maybe the hard way - and which would make my practice more focussed and help me to get there faster. I'm not looking to avoid the practice; I'm looking to learn from the masters so that I improve faster. Just like any other subject - find an expert, listen to what they say, and put the work in.

@@ipudisciple I like your comment and I'm currently looking for the same thing. Did you ever find more resources since then? Or something that helped you make it click?

Thanks! Always nice hearing from guitar players lurking in the shadows.

Thanks. You made me want to go have lunch.

MangoldProject lol lovely hope you enjoyed it if you had it

Thanks Claude.

Helps if you think of it in the altered dominant scale

Thanks Alex. I don't think people keep them to themselves on purpose. It's just that a lot of excellent players don't happen to care or think about teaching their knowledge.

Riffing is also too general to focus on. Anything in particular? (Specific timestamps would be useful)

I'm far from being an expert on latin music I'm afraid ... and I don't like talking about things I don't really know anything about. Sorry ...

It's always good to enjoy what we have as well as get motivated by what we still have to learn!

You don't always get what you want, but if you try, sometimes you might get what you need.

Thanks for watching!

You're welcome!

Give it time. You'll crave it in the end ... :)

I'm a jazz pianist.... Runs you can either copy from other people... Or you can construct them yourself using scales, modes, and simply playing around with what sounds good... When you take a 251 progression the very first thing you want to do is play around with the chord tones... When that gets boring, move on to playing with the scales... The Major scale of the 1 in 251 (use the pentatonic scale, blues scale, etc. Then move into modes based on the 2 and 5. Then use scales outside the diatonic as long as you can resolve to the 251 progression within your phrase. You have to feel it and have jam sessions with yourself.... Eventually you'll be able to hear things you want to play... It takes time and practice

I always take notes!

It's in the programs section. A12 I think ("Stage Piano").

You can say that again... but just finding this youtube channel is a step in the right direction let me tell you

Never EVER get discouraged my friend, the willingness and drive to want to learn is all it takes to improve! ^^

@@sotwiis7ed You guys are right--good thing it's fun!

The more I learn the less I know

Well, that's the feeling I get every time I listen to Oscar Peterson play. It never goes away.

I do have a video on 13#11 chords :)

@@MangoldProject nice! Gotta check that out!

ChordieApp.

You mean you're looking for a practice pattern for 2-5-1s, going through all keys? Why not just play 2-5-1s and transpose by a perfect fifth or fourth each time?

Yeah, it's inevitable that mistakes creep in ... I have no idea how to go back and them out, though. One can only hope people read the comments.

@@MangoldProject Your videos are really amazing. Huge fan. At least I was paying attention in class…😂😂😂

ChordieApp.

@@MangoldProject Thank you :)

It's not a full quartal voicing, just a partial one. Coming up with this? Just like any other player - you beg, borrow or steal the voicings you love! :)

Maybe I *AM* Yuval Noah Harari ... :)

MangoldProject than let me tell you i love your book 👍🏼😃

ChordieApp.

Bruno Serio i mean I would think of it as G7 (#9) (b9) #11 b13 basically just an altered chord, but yeah there’s no third or fifth

@@prodbyblake4408 If other instruments did the third and fifth I would name it like that, it makes more sense functionally.

Try this instead: kzfaq.info/get/bejne/jrRodc2HtLWoiZ8.html&lc=Ugw93JZtA61w7SfXJx54AaABAg

A "7" implies a dominant chord, meaning the 7th is flattened. An F# would be warranted were I to write "Gmaj7".

@@MangoldProject That helps a lot, actually, but what happens with minors? Gm7 would be G, Bb, D, and F or F#? Sorry I never studied theory, I just play by my own, so I barely know the basics only.

@@miladsammouh4741 Have no fear. Just watch my Piano Quickie series! kzfaq.info/get/bejne/gdWAdMaH06fNZmw.html

The RH shapes are inversions.

The rootless voicing gets its name from the fact that it's a voicing without a root, meaning it's missing the tonic note from the chord. So CM7 (rootless) might be voiced as E,G,B. The idea is that someone else is playing the root (typically a bass). An inversion is something like E,G,C for C major. So it has the tonic, but not in the bass. Inversions are very much not a new concept. Bach and Mozart used them all the time. Rootless voicings with someone else playing the root are also old - many or most orchestral orchestrations work that way for the higher parts. Rootless voicings where no-one else is playing the root require a more educated listener (why isn't that E,G,B just E minor?) so might be newer, but doubtless someone will dig up some classical examples.

Thank you sir 😀