He is a good teacher, calm, knowledgeable and good eye contact.
@melodicharmony9772
4 жыл бұрын
JB, this is a wonderful vid of dissecting the melody out of all if those beautiful movements & progressions
@vocaljazz32
3 жыл бұрын
Thanks for the wisdom JB! -Bakari
@petersan6041
2 жыл бұрын
Wonderful, Very inspiring stuff I'm looking for!
@randalllewis2434
3 жыл бұрын
Love your little teaching snippets JBC....
@thecompanysingersph
3 жыл бұрын
learning so much from Master JB. Thank you.
@joelperry9348
4 жыл бұрын
That was excellent Jean Baptiste. I like you teaching!
@MrJemjoy
4 жыл бұрын
Incredible JB ! Great job ;)
@EduardoAlvesRS
4 жыл бұрын
Thanks JB!!! Incredible!!!
@nguqobo2261
4 жыл бұрын
thank you , bro
@pjcoop
4 жыл бұрын
Thanks JB.. very interesting. Liberty City would be a good one to look at too I think!
@jbcraipeau
4 жыл бұрын
Yeah that's another classic...also Continuum with the big band! man that's so good :)
@tyleri.4219
4 жыл бұрын
Woah! Your English is awesome.
@adamtune
4 жыл бұрын
Very helpful video! Those voicings are GNARLY! Have you noticed that a lot of upper structure for these dense voicings can often be described as some sort of ∆7#11-type voicing? For example, on these: Eb13(add11): Db∆7#11/Eb Eb7(b5,#5,#9): G∆9#11/Eb (literally presented in this voicing) Db13(#11): Cb∆7#11(with an added #5) Db? (not really a conventional chord voicing? Db6sus add b9? Kind of implies a Db13sus with a b9, though): D∆7#11 (with an added #5) I'm noticing that you can do that upper structure ∆7#11 chord as the 3rd and the 7th of dominant chords. I'm seeing here that they're also using it on the b9 of the dominant. Any other sort of "voicing hacks" like this that you've discovered?
@jbcraipeau
4 жыл бұрын
haha good stuff! Being a bass player in the first place, I kinda tend to avoid to use these "chords over chords" cause I hear it as a whole rather than 2 distinctive sounds except when it's a triad over a bass (D/C etc). The more you add attributes to the first chord (ie.DbMaj7#11/Eb) the more I get a feeling of a cool math trick but that I can't really hear in the context. Of course it's correct and it might works in some cases (pedal on bass for example) but It usually doesn't satisfy me 100%. Also could lead to some weird voicing positions when you give chords instructions like that to a keyboard or guitar player. Happy to discuss!
@adamtune
4 жыл бұрын
@@jbcraipeau of course, you're right that they become more descriptive like a recipe than as a polychord one hears. I mean it in the sense of "here's the notes for the upper part, put them in a logical voicing using good voicing procedures (color above structure, e.g.)" I'm mostly coming towards it from a position of thinking of good "shorthand" for elegant chord types. I know as an arranger often the upper voices use a voicing of the "upper" harmony, e.g. give the saxes an Fmaj7 or Fmaj9 (in a good voicing) and the bari or bass or bass tbn the note D for a nice Dm9 or Dm11. So i guess my question then is, if you don't prefer those shorthands, how do you conceive of voicing choices? Always treating the voices as individual melodies? (Makes sense, of course)
@jbcraipeau
4 жыл бұрын
@@adamtune yeah I agree that it might help some people to understand how complex chords can be built and then finding some good voicings positions. I think it's important to keep in mind the low parts (bottom 3/Left Hand etc). Always good to start with 1 5 3 or 1 7 3 or 1 3 7 but also 1 5 9/1 7 9 etc. It's typicall and helpful to also isolate "hidden" triads within a chord (D major in a C13#11 or Fmajor/Bb major in a C13sus for example) the ears is so used to major chord that once a singer found the feeling of that familiar easy sound, then it's no problem to tune any crazy chord). You can do the same with any interval or chord but major triad is always helpful!
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