WEBVTT 00:00:00.000 --> 00:00:01.742 align:center wherever you might be I am 00:00:01.802 --> 00:00:05.185 align:center just checking here the live stream 00:00:05.285 --> 00:00:08.548 align:center coming up on the site and 00:00:08.668 --> 00:00:10.330 align:center it should be fine let me 00:00:10.430 --> 00:00:12.652 align:center make sure just waiting one second 00:00:12.752 --> 00:00:15.255 align:center here all right well it's still 00:00:15.315 --> 00:00:16.015 align:center retry I 00:00:19.419 --> 00:00:19.959 align:center think you are in 00:00:19.999 --> 00:00:22.161 align:center the right place I am streaming 00:00:22.282 --> 00:00:25.525 align:center then just took a second okay 00:00:25.565 --> 00:00:27.266 align:center was not showing up yet on 00:00:27.326 --> 00:00:28.688 align:center the on the page let me 00:00:28.728 --> 00:00:30.369 align:center kind of refresh the page just 00:00:30.389 --> 00:00:31.090 align:center in case 00:00:34.680 --> 00:00:35.882 align:center Okay, hello. 00:00:37.384 --> 00:00:38.265 align:center Oh yeah, there I am. 00:00:38.405 --> 00:00:39.086 align:center That's all good. 00:00:39.166 --> 00:00:40.348 align:center I think we're good to go. 00:00:40.368 --> 00:00:44.153 align:center And hi, it's Jovino Santos Neto 00:00:44.213 --> 00:00:46.076 align:center here for Piano Groove. 00:00:46.096 --> 00:00:47.418 align:center And today we're going to talk 00:00:47.498 --> 00:00:48.580 align:center about ballads. 00:00:49.401 --> 00:00:50.943 align:center Ballads seems to be all good. 00:00:51.063 --> 00:00:52.425 align:center Yes, very nice. 00:00:53.026 --> 00:00:54.408 align:center Just getting the message that it's 00:00:54.528 --> 00:00:54.989 align:center all good. 00:00:56.030 --> 00:00:58.634 align:center Okay, playing ballads is quite of 00:00:58.714 --> 00:01:01.257 align:center an interesting thing and it's something 00:01:01.277 --> 00:01:02.539 align:center that took me a little while 00:01:02.619 --> 00:01:03.180 align:center to get 00:01:03.880 --> 00:01:06.124 align:center into the vibe, into the groove 00:01:06.184 --> 00:01:07.946 align:center of playing ballads. 00:01:08.227 --> 00:01:09.409 align:center I'm gonna see a few things 00:01:09.549 --> 00:01:12.133 align:center which are generic when playing any 00:01:12.193 --> 00:01:13.435 align:center kind of ballad, whether it's a 00:01:13.475 --> 00:01:15.959 align:center Brazilian style or jazz or even 00:01:16.440 --> 00:01:18.123 align:center a classical ballad, because so many 00:01:18.163 --> 00:01:18.884 align:center beautiful ones. 00:01:19.545 --> 00:01:22.870 align:center I believe the word ballad in 00:01:22.890 --> 00:01:24.813 align:center French means balader, means to just 00:01:24.893 --> 00:01:27.658 align:center walk leisurely, to take a gentle 00:01:27.718 --> 00:01:28.038 align:center walk. 00:01:28.058 --> 00:01:29.180 align:center You're not running anywhere. 00:01:29.700 --> 00:01:30.902 align:center you're not in a hurry. 00:01:30.922 --> 00:01:32.224 align:center So a ballad is something that 00:01:32.284 --> 00:01:33.786 align:center usually reflects some kind of an 00:01:33.846 --> 00:01:35.328 align:center emotional state as well. 00:01:36.029 --> 00:01:37.752 align:center A lot of ballads, they're either, 00:01:37.772 --> 00:01:40.096 align:center you know, romantic ballads or then 00:01:40.136 --> 00:01:41.317 align:center there might be some kind of 00:01:41.337 --> 00:01:44.342 align:center a nostalgic ballads or just an 00:01:44.442 --> 00:01:45.904 align:center introspective ballad. 00:01:45.924 --> 00:01:47.106 align:center Those are some of the moods 00:01:47.186 --> 00:01:48.428 align:center that you get with the ballad. 00:01:48.929 --> 00:01:50.271 align:center Number one thing that I'll say 00:01:50.311 --> 00:01:51.472 align:center for anybody who wants to play 00:01:51.513 --> 00:01:53.215 align:center in the ballads is that resist 00:01:53.516 --> 00:01:55.859 align:center the temptation to feel ballads in 00:01:55.899 --> 00:01:56.540 align:center double time. 00:01:56.630 --> 00:01:58.254 align:center That's something that I had, and 00:01:58.314 --> 00:01:59.316 align:center it took me a while to 00:01:59.376 --> 00:02:01.160 align:center realize the importance of that. 00:02:01.841 --> 00:02:03.525 align:center So for ballad, it usually means 00:02:03.565 --> 00:02:04.748 align:center that it's not a fast tempo. 00:02:05.389 --> 00:02:06.772 align:center So usually a good tempo, and 00:02:06.832 --> 00:02:07.914 align:center both ballads we're going to play 00:02:07.934 --> 00:02:08.796 align:center today, they have kind of a 00:02:08.836 --> 00:02:09.698 align:center similar tempo. 00:02:09.718 --> 00:02:11.843 align:center It's kind of like one, two, 00:02:11.863 --> 00:02:15.150 align:center three, four, pop. 00:02:15.760 --> 00:02:17.823 align:center So that's kind of like 60 00:02:17.903 --> 00:02:20.507 align:center between 60 and 75 beats per 00:02:20.567 --> 00:02:21.969 align:center minute is a good there's some 00:02:22.029 --> 00:02:24.052 align:center slower balance and there's some slightly 00:02:24.112 --> 00:02:26.616 align:center faster but resist the temptation to 00:02:26.656 --> 00:02:27.717 align:center start to think of the ballad 00:02:27.778 --> 00:02:31.283 align:center as being because then everything is 00:02:31.323 --> 00:02:33.306 align:center going to be chopped and choppy 00:02:33.906 --> 00:02:35.108 align:center and that's not a very good 00:02:35.168 --> 00:02:37.031 align:center thing in terms of the expression 00:02:37.211 --> 00:02:39.635 align:center the emotional and the technical expression 00:02:39.695 --> 00:02:41.357 align:center of the ballad so those are 00:02:41.397 --> 00:02:42.880 align:center some good things the other thing 00:02:42.980 --> 00:02:43.220 align:center is 00:02:44.700 --> 00:02:46.322 align:center Rarely, when you play a ballad, 00:02:46.763 --> 00:02:48.085 align:center what you're gonna play with the 00:02:48.165 --> 00:02:49.927 align:center melody is what's written on the 00:02:49.987 --> 00:02:50.308 align:center page. 00:02:51.470 --> 00:02:53.452 align:center A chart, a jazz chart especially, 00:02:53.953 --> 00:02:55.655 align:center it's really meant to be a 00:02:55.776 --> 00:02:58.079 align:center general guide to where the melodies 00:02:58.239 --> 00:02:58.379 align:center are. 00:02:58.820 --> 00:03:00.282 align:center But if you play them exactly 00:03:00.362 --> 00:03:02.425 align:center as written, it's gonna sound mechanical, 00:03:02.545 --> 00:03:05.529 align:center it's gonna lose the depth, the 00:03:05.629 --> 00:03:07.893 align:center interpretation, the articulation, the 00:03:08.614 --> 00:03:09.635 align:center phrasing, everything 00:03:09.695 --> 00:03:13.220 align:center that is important to convey the 00:03:13.320 --> 00:03:16.285 align:center your emotion as a performer and 00:03:16.365 --> 00:03:18.849 align:center also the composer's emotion as a 00:03:19.009 --> 00:03:20.371 align:center composer of the piece that you 00:03:20.432 --> 00:03:20.612 align:center see. 00:03:20.992 --> 00:03:22.635 align:center So sometimes we just write ballads 00:03:22.675 --> 00:03:23.416 align:center straight forward. 00:03:23.737 --> 00:03:24.939 align:center And I think it's pretty much 00:03:24.979 --> 00:03:25.460 align:center the case. 00:03:25.620 --> 00:03:28.585 align:center I believe that Hayden is going 00:03:28.605 --> 00:03:31.489 align:center to make the pages available. 00:03:32.792 --> 00:03:33.433 align:center Blah, blah, blah. 00:03:33.453 --> 00:03:35.556 align:center Let me see. 00:03:35.676 --> 00:03:37.359 align:center If you have any questions as 00:03:37.439 --> 00:03:38.020 align:center we go. 00:03:38.330 --> 00:03:41.713 align:center Let's move forward because you can 00:03:41.753 --> 00:03:43.255 align:center just do questions on the chat 00:03:43.315 --> 00:03:44.476 align:center and I'll be checking the chat 00:03:44.576 --> 00:03:45.838 align:center regularly to see if there's any 00:03:45.878 --> 00:03:46.658 align:center questions, okay? 00:03:48.020 --> 00:03:50.462 align:center So I sent two ballads for 00:03:50.542 --> 00:03:52.685 align:center us to explore today. 00:03:53.205 --> 00:03:55.167 align:center Two by great composers which I 00:03:55.227 --> 00:03:57.810 align:center personally find the greatest composers of 00:03:58.250 --> 00:04:00.833 align:center this past hundred years, definitely. 00:04:00.933 --> 00:04:02.254 align:center One of them is Wayne Shorter 00:04:02.514 --> 00:04:03.616 align:center and we're gonna start with this 00:04:03.676 --> 00:04:08.040 align:center composition from 1965 called Infant Eyes. 00:04:08.860 --> 00:04:10.622 align:center beautiful because you know that we 00:04:10.662 --> 00:04:13.485 align:center talk about all kinds of inspiration 00:04:13.525 --> 00:04:15.407 align:center for ballads infant eyes I mean 00:04:15.427 --> 00:04:17.389 align:center if you ever stared into the 00:04:17.510 --> 00:04:18.951 align:center eyes of an infant a baby 00:04:19.712 --> 00:04:22.255 align:center there's certain depth in there when 00:04:22.415 --> 00:04:23.796 align:center somebody who's looking at the world 00:04:23.877 --> 00:04:26.119 align:center for the first time and seeing 00:04:26.179 --> 00:04:28.101 align:center things so that the discovery so 00:04:28.141 --> 00:04:30.083 align:center there's a beautiful I think the 00:04:30.123 --> 00:04:33.507 align:center Wayne Shorter music Wayne Shorter's music 00:04:33.627 --> 00:04:36.110 align:center is really beautifully 00:04:37.030 --> 00:04:39.774 align:center emotionally charged, technically impeccable, 00:04:40.295 --> 00:04:40.595 align:center and it's 00:04:40.916 --> 00:04:43.800 align:center always a great vehicle for improvisation. 00:04:43.860 --> 00:04:44.541 align:center So we're going to look at 00:04:44.601 --> 00:04:45.022 align:center all that. 00:04:46.043 --> 00:04:46.904 align:center First I'm going to look at 00:04:46.965 --> 00:04:48.587 align:center the chart called Infant Eyes and 00:04:48.627 --> 00:04:49.969 align:center I believe that Hayden has a 00:04:50.149 --> 00:04:51.451 align:center link to that where you can 00:04:51.511 --> 00:04:52.172 align:center download it. 00:04:52.853 --> 00:04:56.679 align:center And if not, we'll talk about 00:04:56.719 --> 00:04:58.501 align:center it because this is a very 00:04:58.582 --> 00:05:00.304 align:center short ballad that has the form 00:05:01.746 --> 00:05:02.828 align:center ABA. 00:05:03.188 --> 00:05:04.370 align:center It has an A section. 00:05:05.030 --> 00:05:06.753 align:center Goes into a B and repeats 00:05:06.813 --> 00:05:07.554 align:center to the A section. 00:05:07.654 --> 00:05:08.676 align:center Very simple form. 00:05:09.558 --> 00:05:12.042 align:center And it was a slow ballad 00:05:12.122 --> 00:05:13.284 align:center in the chart that I sent. 00:05:13.745 --> 00:05:15.047 align:center So you have to really be 00:05:15.247 --> 00:05:17.551 align:center thinking of that pulse. 00:05:17.571 --> 00:05:20.016 align:center Not so much as in stomping 00:05:20.056 --> 00:05:21.558 align:center your feet kind of pulse, but 00:05:21.638 --> 00:05:23.482 align:center just a general breathing. 00:05:24.163 --> 00:05:24.964 align:center So why don't we go like 00:05:24.984 --> 00:05:25.185 align:center this? 00:05:26.447 --> 00:05:27.388 align:center One more thing I should say 00:05:27.428 --> 00:05:28.410 align:center before I play it. 00:05:28.700 --> 00:05:31.604 align:center Let's always, when practicing, when learning 00:05:31.664 --> 00:05:33.247 align:center a new ballad, let's always try 00:05:33.327 --> 00:05:35.009 align:center to take the point of view 00:05:35.209 --> 00:05:38.794 align:center of the accompanist first and later 00:05:38.815 --> 00:05:40.196 align:center you add the melody. 00:05:40.217 --> 00:05:41.599 align:center I'm going to do that today 00:05:41.699 --> 00:05:43.341 align:center so you can see the process, 00:05:43.401 --> 00:05:44.102 align:center how it works. 00:05:44.743 --> 00:05:46.546 align:center I think it's really good to 00:05:46.686 --> 00:05:50.952 align:center just explore the possible voicings that 00:05:51.012 --> 00:05:53.295 align:center you have and those voices can 00:05:53.335 --> 00:05:56.099 align:center be represented either as blocks of 00:05:56.199 --> 00:05:56.600 align:center chords 00:05:59.040 --> 00:06:00.862 align:center Right, I'm playing G minor 7 00:06:00.882 --> 00:06:02.023 align:center which is the first chord of 00:06:02.304 --> 00:06:08.051 align:center infantiles and it goes to So 00:06:08.131 --> 00:06:09.172 align:center now I'm gonna do with the 00:06:09.252 --> 00:06:10.874 align:center pedal the pedal helps a lot 00:06:10.914 --> 00:06:12.015 align:center in these cases you have to 00:06:12.055 --> 00:06:13.757 align:center be very careful with the pedal 00:06:14.178 --> 00:06:16.681 align:center to not over pedal and Especially 00:06:16.721 --> 00:06:18.242 align:center to not sit your foot on 00:06:18.283 --> 00:06:19.624 align:center the pedal and just let the 00:06:19.724 --> 00:06:22.588 align:center chords leak into each other, especially 00:06:22.648 --> 00:06:24.670 align:center when there's non-diatonic 00:06:24.830 --> 00:06:27.034 align:center chord changes such as this beautiful 00:06:27.094 --> 00:06:28.156 align:center ballad by Wayne Shorter. 00:06:28.556 --> 00:06:30.299 align:center Anyway, I'm just gonna play the 00:06:30.480 --> 00:06:32.463 align:center changes once and I want you 00:06:32.503 --> 00:06:34.406 align:center to pay attention to the to 00:06:34.426 --> 00:06:36.269 align:center the voices that I'm playing because 00:06:36.289 --> 00:06:37.912 align:center those are very important. 00:06:38.453 --> 00:06:39.635 align:center Not that you have to repeat 00:06:39.695 --> 00:06:41.098 align:center the same voices but you see 00:06:41.438 --> 00:06:43.882 align:center the possibilities of these voices. 00:06:44.483 --> 00:06:45.645 align:center So we'll start with the G 00:06:45.685 --> 00:06:46.346 align:center minor, right? 00:06:46.427 --> 00:06:47.629 align:center So I'm gonna go and I'm 00:06:47.669 --> 00:06:48.510 align:center just freely 00:06:48.750 --> 00:06:51.031 align:center exploring the keyboard, not playing the 00:06:51.091 --> 00:06:51.891 align:center melody, okay? 00:06:52.731 --> 00:07:06.015 align:center One, two, three, four, 00:07:06.695 --> 00:08:45.145 align:center and... 00:08:45.565 --> 00:08:45.985 align:center Chords. 00:08:46.425 --> 00:08:47.905 align:center You checked out the voices. 00:08:48.265 --> 00:08:49.966 align:center I want to call your attention 00:08:49.986 --> 00:08:51.346 align:center to one chord that's a really 00:08:51.386 --> 00:08:53.467 align:center beautiful chord in the song, which 00:08:53.547 --> 00:08:55.288 align:center is the A13b9. 00:08:56.648 --> 00:08:58.048 align:center Quickly check if there's any questions 00:08:58.128 --> 00:08:58.509 align:center there. 00:08:59.289 --> 00:09:01.569 align:center Okay, yes, the score is here. 00:09:01.589 --> 00:09:03.010 align:center Hayden, just put the link there. 00:09:03.170 --> 00:09:03.490 align:center Awesome. 00:09:03.740 --> 00:09:05.122 align:center So, I'm talking about the A 00:09:05.202 --> 00:09:08.606 align:center 13b9 is a theoretical way of 00:09:09.928 --> 00:09:10.889 align:center notating this chord. 00:09:11.410 --> 00:09:12.231 align:center But if you want to look 00:09:12.291 --> 00:09:13.552 align:center at it from a much more 00:09:14.013 --> 00:09:17.217 align:center simpler and more intuitive approach, how 00:09:17.277 --> 00:09:19.039 align:center I voice this chord is that 00:09:19.099 --> 00:09:19.940 align:center I put the A with the 00:09:19.960 --> 00:09:22.263 align:center 7th on the left hand, like 00:09:22.303 --> 00:09:23.865 align:center that, and then I played an 00:09:24.005 --> 00:09:24.947 align:center F sharp major. 00:09:28.171 --> 00:09:28.832 align:center Look how beautiful. 00:09:28.892 --> 00:09:30.193 align:center That's the same chord, right? 00:09:30.233 --> 00:09:32.716 align:center It's got the, you know, 7, 00:09:33.257 --> 00:09:35.600 align:center the 3rd, 13b9. 00:09:36.160 --> 00:09:38.162 align:center And having played the F sharp 00:09:38.383 --> 00:09:41.947 align:center major or G flat major, you 00:09:42.007 --> 00:09:43.408 align:center notice that the next chord is 00:09:43.468 --> 00:09:44.950 align:center actually a G flat major. 00:09:46.552 --> 00:09:49.215 align:center It sounds totally different, but look 00:09:49.275 --> 00:09:50.016 align:center at this when you play the 00:09:50.036 --> 00:09:53.460 align:center first chord. 00:09:54.280 --> 00:09:59.747 align:center And then you play 00:09:59.767 --> 00:10:00.347 align:center a second. 00:10:00.447 --> 00:10:02.169 align:center So you see the overlap between 00:10:02.229 --> 00:10:03.611 align:center two chords which are not even 00:10:04.092 --> 00:10:05.393 align:center in the same key. 00:10:06.815 --> 00:10:07.355 align:center And how? 00:10:07.375 --> 00:10:08.496 align:center Because you would think that an 00:10:08.517 --> 00:10:09.858 align:center A 13th is going to resolve 00:10:09.898 --> 00:10:10.859 align:center to a D major, but it 00:10:10.899 --> 00:10:11.620 align:center went to that. 00:10:11.580 --> 00:10:13.543 align:center F sharp major so it's a 00:10:13.623 --> 00:10:15.405 align:center way to do that famous giant 00:10:15.445 --> 00:10:17.829 align:center step so instead of resolving to 00:10:17.929 --> 00:10:19.431 align:center one chord it resolves to one 00:10:19.571 --> 00:10:21.874 align:center major third above so I love 00:10:21.914 --> 00:10:22.916 align:center that kind of thing that's one 00:10:22.956 --> 00:10:23.917 align:center of the reasons why I picked 00:10:23.957 --> 00:10:25.199 align:center this tune because first of all 00:10:26.060 --> 00:10:28.644 align:center there's the overlap of the voices 00:10:29.725 --> 00:10:30.546 align:center so when you play a chord 00:10:30.587 --> 00:10:33.991 align:center like this this enters into like 00:10:34.071 --> 00:10:35.033 align:center that what we known as a 00:10:35.093 --> 00:10:36.915 align:center diminished scale right if you have 00:10:36.955 --> 00:10:38.257 align:center to play this on the key 00:10:38.297 --> 00:10:40.280 align:center of A you could do like 00:10:46.610 --> 00:10:47.130 align:center Right? 00:10:47.190 --> 00:10:48.231 align:center This is the 00:10:51.614 --> 00:10:52.475 align:center is the auxiliary 00:10:52.535 --> 00:10:54.276 align:center diminished scale, but don't think of 00:10:54.336 --> 00:10:55.277 align:center the scales in the case of 00:10:55.317 --> 00:10:55.777 align:center the ballad. 00:10:55.817 --> 00:10:58.679 align:center Think of the arpeggios. 00:10:58.980 --> 00:11:00.361 align:center And the F sharp has also 00:11:00.441 --> 00:11:05.645 align:center the flat five, the six, 00:11:06.705 --> 00:11:06.766 align:center the 00:11:06.786 --> 00:11:12.910 align:center seven. 00:11:14.391 --> 00:11:15.933 align:center And because it's a diminished scale, 00:11:16.013 --> 00:11:18.755 align:center you can expand by one and 00:11:18.795 --> 00:11:19.996 align:center a half steps. 00:11:20.376 --> 00:11:22.718 align:center So the A is already the 00:11:22.778 --> 00:11:24.079 align:center root, so let's spend down. 00:11:24.459 --> 00:11:25.620 align:center So from the F sharp. 00:11:26.860 --> 00:11:33.287 align:center T sharp, C, and A. 00:11:35.028 --> 00:11:37.291 align:center So see how many possibilities are 00:11:37.351 --> 00:11:38.292 align:center in this one chord. 00:11:38.832 --> 00:11:39.453 align:center Really beautiful. 00:11:39.773 --> 00:11:40.654 align:center The other chord that I want 00:11:40.674 --> 00:11:41.875 align:center to point out as being a 00:11:41.995 --> 00:11:44.078 align:center really good chord that deserves some 00:11:44.138 --> 00:11:46.400 align:center attention when you're practicing it is 00:11:46.500 --> 00:11:48.022 align:center on the B section because it 00:11:48.062 --> 00:11:50.184 align:center starts on E flat major 7. 00:11:51.565 --> 00:11:52.987 align:center Then you have this kind of 00:11:53.027 --> 00:11:59.233 align:center fridge. 00:11:59.253 --> 00:12:02.416 align:center It goes back and then everything 00:12:02.476 --> 00:12:02.877 align:center moves. 00:12:05.139 --> 00:12:06.040 align:center I'll repeat that. 00:12:06.060 --> 00:12:07.041 align:center E flat major. 00:12:08.261 --> 00:12:12.024 align:center Oops, 00:12:12.044 --> 00:12:13.225 align:center sorry, not changed the bass. 00:12:22.171 --> 00:12:22.991 align:center Why do you play in that 00:12:23.071 --> 00:12:23.692 align:center chord? 00:12:23.712 --> 00:12:24.712 align:center When you're going to improvise and 00:12:24.772 --> 00:12:26.433 align:center everything for the voices, you think 00:12:26.494 --> 00:12:27.794 align:center it's an E major seventh chord. 00:12:27.914 --> 00:12:29.235 align:center It's like the... 00:12:30.656 --> 00:12:31.737 align:center Which is the next chord is 00:12:31.777 --> 00:12:32.798 align:center going to be anyway, but this 00:12:32.918 --> 00:12:34.439 align:center one keeps the E flat on 00:12:34.479 --> 00:12:34.879 align:center the bass. 00:12:41.984 --> 00:12:44.986 align:center Beautiful voice. 00:12:45.006 --> 00:12:47.567 align:center That's nice also. 00:12:47.587 --> 00:12:49.068 align:center So when they say E flat, 00:12:49.249 --> 00:12:50.870 align:center E major seven with a D 00:12:50.910 --> 00:12:51.470 align:center sharp bass. 00:12:54.300 --> 00:12:56.542 align:center The interesting analysis of that chord 00:12:56.582 --> 00:12:57.524 align:center is that you can think of 00:12:57.624 --> 00:12:58.925 align:center it from the bottom up or 00:12:58.945 --> 00:13:00.427 align:center from the top down. 00:13:00.447 --> 00:13:01.928 align:center From the bottom up, as an 00:13:02.008 --> 00:13:05.753 align:center E flat chord, it's the chords 00:13:05.853 --> 00:13:08.676 align:center that usually associate with flamenco music. 00:13:08.736 --> 00:13:15.183 align:center If 00:13:15.223 --> 00:13:16.144 align:center you think from the bottom 00:13:16.204 --> 00:13:17.565 align:center down, it's an E major seventh 00:13:17.626 --> 00:13:20.549 align:center chord with a major seventh on 00:13:20.569 --> 00:13:23.512 align:center the bass. 00:13:23.532 --> 00:13:26.215 align:center That change of perspective gives you 00:13:26.315 --> 00:13:28.598 align:center multiple possibilities when improvising when 00:13:28.678 --> 00:13:29.118 align:center voicing. 00:13:29.138 --> 00:13:30.380 align:center So it's something to keep in 00:13:30.460 --> 00:13:30.840 align:center mind. 00:13:31.010 --> 00:13:31.571 align:center Okay? 00:13:32.332 --> 00:13:34.074 align:center Now, let me quickly check if 00:13:34.094 --> 00:13:35.236 align:center there's any questions here. 00:13:36.177 --> 00:13:37.179 align:center No, not yet. 00:13:37.339 --> 00:13:37.860 align:center Feel free. 00:13:37.900 --> 00:13:38.581 align:center Don't be shy. 00:13:38.761 --> 00:13:40.564 align:center If you are watching this live, 00:13:40.644 --> 00:13:42.927 align:center feel free to just pop in 00:13:42.947 --> 00:13:44.069 align:center a question in the chat and 00:13:44.089 --> 00:13:45.210 align:center I'll be happy to answer. 00:13:46.452 --> 00:13:48.275 align:center Now, I'm going to actually... That's 00:13:48.375 --> 00:13:51.419 align:center one of the characteristics of well-written 00:13:51.480 --> 00:13:53.322 align:center music, in my opinion, is that 00:13:53.422 --> 00:13:55.385 align:center you can actually play the melody 00:13:55.666 --> 00:13:56.487 align:center from the voicings. 00:13:57.068 --> 00:13:58.770 align:center So the voicings will... 00:13:58.780 --> 00:14:00.683 align:center lead to the melody and the 00:14:00.743 --> 00:14:02.105 align:center melody will lead to the voices. 00:14:03.026 --> 00:14:04.288 align:center In other words, there's not that 00:14:04.328 --> 00:14:06.050 align:center there's like the changes, the harmony 00:14:06.411 --> 00:14:07.593 align:center and a melody that floats on 00:14:07.673 --> 00:14:07.933 align:center top. 00:14:08.454 --> 00:14:10.276 align:center It's more of a vertical approach 00:14:10.296 --> 00:14:11.518 align:center in which the melody and the 00:14:11.578 --> 00:14:13.621 align:center chords are so connected but not 00:14:13.821 --> 00:14:14.342 align:center rigidly. 00:14:14.863 --> 00:14:15.784 align:center They're flexible. 00:14:16.245 --> 00:14:17.927 align:center So that way it allows you 00:14:18.027 --> 00:14:20.311 align:center to interpret and you can really 00:14:20.391 --> 00:14:23.155 align:center see what a great composer Wayne 00:14:23.215 --> 00:14:25.037 align:center Shorter is because as a saxophone 00:14:25.097 --> 00:14:26.900 align:center player he has such a deep... 00:14:27.800 --> 00:14:30.681 align:center grasp of the harmonic verticality of 00:14:30.761 --> 00:14:32.521 align:center those notes that he plays, and 00:14:32.601 --> 00:14:35.342 align:center that's what makes it really incredible. 00:14:35.362 --> 00:14:36.262 align:center So check this out. 00:14:36.562 --> 00:14:38.162 align:center I'm gonna play now with the 00:14:38.222 --> 00:14:38.582 align:center melody. 00:14:39.122 --> 00:14:44.984 align:center So one, two, sorry, 00:14:48.845 --> 00:14:56.726 align:center one, 00:14:57.406 --> 00:15:03.008 align:center two, 00:16:17.404 --> 00:16:22.665 align:center nice. 00:16:28.726 --> 00:16:31.567 align:center Beautiful use of resolution on a 00:16:31.647 --> 00:16:34.407 align:center suspended chord, which leaves everything open. 00:16:34.427 --> 00:16:35.427 align:center So when it goes like the 00:16:35.467 --> 00:16:45.710 align:center last three bars, instead 00:16:45.750 --> 00:16:47.150 align:center of doing 00:16:47.230 --> 00:16:47.510 align:center minor, 00:16:51.370 --> 00:16:54.331 align:center which goes back to... 00:16:58.972 --> 00:17:01.053 align:center I'm starting to express a little 00:17:01.093 --> 00:17:03.554 align:center more difference of interpretation on the 00:17:03.614 --> 00:17:22.659 align:center melody. 00:18:38.781 --> 00:18:39.822 align:center Think of it as an F 00:18:39.942 --> 00:18:42.142 align:center minor. 00:18:43.623 --> 00:18:43.783 align:center The 00:18:47.384 --> 00:18:48.304 align:center other way to think about 00:18:48.324 --> 00:18:53.266 align:center it is an A flat major 00:18:53.286 --> 00:18:58.267 align:center with a B flat bass. 00:18:58.667 --> 00:19:00.088 align:center So it's a good idea as 00:19:00.128 --> 00:19:02.288 align:center you practice this tune to explore 00:19:02.508 --> 00:19:03.889 align:center all the suspended chords. 00:19:03.949 --> 00:19:05.089 align:center The other one is E flat 00:19:05.129 --> 00:19:06.530 align:center suspended. 00:19:06.630 --> 00:19:07.410 align:center Same thing, it's like a B 00:19:07.430 --> 00:19:08.010 align:center flat minor. 00:19:11.910 --> 00:19:13.452 align:center The other one is the Fsus. 00:19:13.792 --> 00:19:19.359 align:center It's like a C minor 00:19:19.379 --> 00:19:19.459 align:center with 00:19:19.499 --> 00:19:21.882 align:center the F bass. 00:19:22.603 --> 00:19:22.864 align:center Sorry. 00:19:26.809 --> 00:19:31.314 align:center Major 3rd goes into the 6th. 00:19:31.334 --> 00:19:32.736 align:center So all these chords can be 00:19:32.816 --> 00:19:34.718 align:center explored in such a beautiful way 00:19:34.879 --> 00:19:37.722 align:center because they are full of possibilities. 00:19:38.443 --> 00:19:40.586 align:center So one of the characteristics of 00:19:40.626 --> 00:19:42.348 align:center Wayne Shorter's music is that his 00:19:42.448 --> 00:19:43.950 align:center music is never closed. 00:19:44.150 --> 00:19:45.812 align:center There's not like one way of 00:19:45.912 --> 00:19:46.293 align:center playing it. 00:19:46.694 --> 00:19:47.895 align:center When you hit these chords, you 00:19:47.935 --> 00:19:49.377 align:center can think of them as a 00:19:49.397 --> 00:19:51.741 align:center multitude of other possible chords that 00:19:52.101 --> 00:19:55.446 align:center coexist as an atmosphere of possible 00:19:55.526 --> 00:19:56.267 align:center chords around. 00:19:56.307 --> 00:19:56.988 align:center So let me see. 00:19:57.709 --> 00:20:01.574 align:center Bb7sus or Bb9sus. 00:20:01.594 --> 00:20:02.856 align:center Yeah, you can also be reading 00:20:02.996 --> 00:20:03.457 align:center F minor. 00:20:04.078 --> 00:20:06.702 align:center You can also be reading Eb. 00:20:07.463 --> 00:20:09.285 align:center So let me explain. 00:20:09.746 --> 00:20:10.887 align:center Bb bass. 00:20:11.989 --> 00:20:12.730 align:center Sus4. 00:20:12.870 --> 00:20:14.051 align:center Basically, if you want a voiced 00:20:14.271 --> 00:20:16.834 align:center chord, or sus9, you express it 00:20:16.934 --> 00:20:17.014 align:center as 00:20:19.937 --> 00:20:21.478 align:center F minor 6, F minor 00:20:21.498 --> 00:20:24.581 align:center 7, 00:20:24.601 --> 00:20:28.084 align:center A flat major 7. 00:20:28.104 --> 00:20:32.308 align:center Also, E flat as a triad. 00:20:32.328 --> 00:20:41.357 align:center And then you can do... 00:20:45.601 --> 00:20:50.785 align:center So by playing this... 00:20:50.805 --> 00:20:51.926 align:center So I never think of B 00:20:51.966 --> 00:20:53.248 align:center flat as a starting point. 00:20:53.688 --> 00:20:55.770 align:center B flat is the anchoring note. 00:20:56.140 --> 00:20:57.361 align:center Because when you open up the 00:20:57.401 --> 00:20:59.984 align:center arpeggios and improvisations and the voicings, 00:21:00.425 --> 00:21:01.446 align:center it's always going to start on 00:21:01.506 --> 00:21:02.187 align:center a different note. 00:21:02.667 --> 00:21:03.648 align:center That's why it's so beautiful. 00:21:03.969 --> 00:21:07.152 align:center When the melody hits, it locks 00:21:07.172 --> 00:21:08.373 align:center in with the bass, like the 00:21:08.433 --> 00:21:12.318 align:center melody goes... What you do, you 00:21:12.338 --> 00:21:19.005 align:center go... Or even the... Or if 00:21:19.045 --> 00:21:21.888 align:center you go higher... 00:21:26.433 --> 00:21:26.954 align:center Hey, I hope 00:21:26.994 --> 00:21:28.635 align:center that gives you some ideas on 00:21:28.655 --> 00:21:29.316 align:center how to play. 00:21:30.137 --> 00:21:32.059 align:center I'll quickly check for any questions 00:21:32.119 --> 00:21:32.319 align:center here. 00:21:32.620 --> 00:21:32.920 align:center Nope. 00:21:33.160 --> 00:21:36.425 align:center Not yet, but keep it active. 00:21:37.226 --> 00:21:38.768 align:center I'm going to now use these 00:21:38.848 --> 00:21:40.710 align:center changes as a basis for some 00:21:40.731 --> 00:21:42.914 align:center improvisation, okay? 00:21:42.934 --> 00:21:44.255 align:center So I'm looking at the changes 00:21:44.796 --> 00:21:46.839 align:center of infant eyes and I'm just 00:21:46.879 --> 00:21:47.580 align:center going to improvise. 00:21:49.923 --> 00:21:51.345 align:center That's what I said in the 00:21:51.405 --> 00:21:51.766 align:center beginning. 00:21:51.786 --> 00:21:53.128 align:center It's really important to keep in 00:21:53.208 --> 00:21:54.610 align:center mind to not think that this 00:21:54.630 --> 00:21:55.431 align:center is going to be just a 00:21:56.312 --> 00:21:58.195 align:center vehicle for scales to be played 00:21:58.275 --> 00:21:58.776 align:center up and down. 00:21:59.336 --> 00:22:01.079 align:center That's when it's really important for 00:22:01.359 --> 00:22:02.000 align:center every player. 00:22:02.160 --> 00:22:03.862 align:center regardless of the instrument but we're 00:22:03.882 --> 00:22:06.004 align:center talking about pianos here especially pianos 00:22:06.104 --> 00:22:08.487 align:center is really important for all of 00:22:08.547 --> 00:22:12.432 align:center you to stay focused on the 00:22:12.672 --> 00:22:15.715 align:center expression and that the notes you 00:22:15.815 --> 00:22:18.198 align:center don't play have as much value 00:22:18.258 --> 00:22:19.480 align:center as the notes that you play 00:22:19.580 --> 00:22:21.842 align:center in other words use of space 00:22:22.723 --> 00:22:24.505 align:center to create something you can do 00:22:24.525 --> 00:22:25.967 align:center a little flourish that has a 00:22:26.007 --> 00:22:27.489 align:center little run or something like this 00:22:27.589 --> 00:22:29.070 align:center but mostly what we're trying to 00:22:29.130 --> 00:22:30.652 align:center do look at this melody the 00:22:30.712 --> 00:22:31.813 align:center melody is so simple 00:22:37.580 --> 00:22:37.680 align:center right 00:22:44.760 --> 00:22:45.920 align:center It's like a story. 00:22:46.621 --> 00:22:48.201 align:center So when you improvise over that, 00:22:48.241 --> 00:22:49.921 align:center you have to keep telling that 00:22:50.021 --> 00:22:51.282 align:center story in your own way. 00:22:51.462 --> 00:22:53.102 align:center So let's try once, okay? 00:22:53.482 --> 00:22:54.843 align:center I'm gonna improvise my own way, 00:22:55.303 --> 00:22:56.603 align:center but it's really important for you 00:22:56.683 --> 00:22:59.424 align:center to also find your own way 00:22:59.504 --> 00:23:01.104 align:center of telling that story, okay? 00:23:01.265 --> 00:23:01.805 align:center Let's check it out. 00:23:02.685 --> 00:23:37.274 align:center One, two, three, four. 00:24:29.929 --> 00:24:30.849 align:center What's the story there? 00:24:31.109 --> 00:24:31.949 align:center I told the story. 00:24:31.969 --> 00:24:32.869 align:center If you ask me to tell 00:24:32.970 --> 00:24:34.030 align:center it again, it's gonna be a 00:24:34.090 --> 00:24:34.730 align:center different story. 00:24:34.960 --> 00:24:37.343 align:center That's one of the beautiful things 00:24:37.403 --> 00:24:40.007 align:center to do with the possibilities that 00:24:40.047 --> 00:24:42.390 align:center a well-written piece of music gives 00:24:42.410 --> 00:24:43.391 align:center you for improvisation. 00:24:44.713 --> 00:24:46.636 align:center So instead of thinking in technical 00:24:46.736 --> 00:24:47.797 align:center terms, I mean there is a 00:24:47.878 --> 00:24:49.780 align:center technique to that too, but it's 00:24:49.840 --> 00:24:51.643 align:center not a technique that involves scales 00:24:52.123 --> 00:24:55.668 align:center and fingerings and chords pressed out 00:24:55.788 --> 00:24:58.372 align:center as stacks of notes. 00:24:58.973 --> 00:25:01.556 align:center It's more about creating this atmosphere 00:25:02.037 --> 00:25:03.979 align:center on which you can tell a 00:25:04.040 --> 00:25:04.400 align:center story. 00:25:04.930 --> 00:25:06.131 align:center And that story can be a 00:25:06.211 --> 00:25:07.513 align:center sad story, a happy story, a 00:25:07.593 --> 00:25:10.736 align:center romantic story, a nostalgic story, whatever 00:25:10.776 --> 00:25:11.116 align:center you want. 00:25:11.136 --> 00:25:13.619 align:center It's going to be very interesting 00:25:13.679 --> 00:25:16.742 align:center to see how that operates, right? 00:25:17.423 --> 00:25:20.506 align:center I'll do one more chorus so 00:25:20.526 --> 00:25:22.148 align:center you see how many different ideas 00:25:22.188 --> 00:25:23.229 align:center you can get out of that. 00:25:23.329 --> 00:25:24.530 align:center And hopefully, and this is all 00:25:24.570 --> 00:25:26.092 align:center being recorded also in media, so 00:25:26.132 --> 00:25:27.013 align:center if you want to follow what 00:25:27.033 --> 00:25:28.495 align:center I've played, you just have to 00:25:28.535 --> 00:25:29.436 align:center check out afterwards. 00:25:29.456 --> 00:25:30.697 align:center Hey, they will post the light 00:25:30.757 --> 00:25:32.299 align:center up notes, you know, and then 00:25:32.339 --> 00:25:33.700 align:center you can see what I'm playing. 00:25:34.360 --> 00:25:36.160 align:center One more round through the chorus 00:25:36.220 --> 00:25:36.900 align:center and then we're going to look 00:25:36.961 --> 00:25:38.041 align:center at a different composition. 00:25:38.661 --> 00:25:39.421 align:center Alright, so here it goes. 00:25:40.641 --> 00:25:42.602 align:center One, two, and I'll play one 00:25:42.642 --> 00:25:43.982 align:center chorus then I'll play the melody 00:25:44.002 --> 00:25:47.062 align:center as I head out, okay? 00:25:47.463 --> 00:25:49.563 align:center Here it goes. 00:26:01.485 --> 00:26:08.287 align:center One, 00:28:00.369 --> 00:28:10.111 align:center two, 00:28:27.374 --> 00:28:29.954 align:center three. 00:28:32.415 --> 00:28:32.435 align:center I 00:28:48.738 --> 00:28:49.458 align:center hope you like that. 00:28:50.358 --> 00:28:52.839 align:center It was a really, it's a 00:28:52.859 --> 00:28:54.359 align:center song that moves me a lot. 00:28:54.439 --> 00:28:54.999 align:center I loved it. 00:28:55.059 --> 00:28:56.100 align:center I made a couple mistakes on 00:28:56.140 --> 00:28:56.900 align:center the melody there. 00:28:56.920 --> 00:28:58.100 align:center Hope you forgive me that. 00:28:58.520 --> 00:28:59.963 align:center because I was just getting carried 00:29:00.063 --> 00:29:00.344 align:center away. 00:29:00.544 --> 00:29:03.389 align:center But thank you, Steve Schuler, for 00:29:03.429 --> 00:29:04.411 align:center the comments there. 00:29:05.133 --> 00:29:06.896 align:center But let's move forward. 00:29:06.916 --> 00:29:08.639 align:center Now, the next one I'm going 00:29:08.680 --> 00:29:09.922 align:center to work is a composition by 00:29:09.982 --> 00:29:10.864 align:center Ameto Pascual. 00:29:10.884 --> 00:29:12.467 align:center It's called Campinas. 00:29:13.328 --> 00:29:14.471 align:center Campinas is the name of a 00:29:14.651 --> 00:29:16.074 align:center town in the state of São 00:29:16.094 --> 00:29:18.017 align:center Paulo, Brazil, and Ameto wrote that 00:29:18.058 --> 00:29:19.380 align:center composition in the bus. 00:29:19.720 --> 00:29:21.923 align:center as he was approaching the city 00:29:22.003 --> 00:29:23.465 align:center of Campinas to play a gig 00:29:23.505 --> 00:29:26.950 align:center there, he saw, Campinas means medals, 00:29:27.190 --> 00:29:29.954 align:center like nice rolling medals, which probably 00:29:30.014 --> 00:29:31.216 align:center the city at one point had. 00:29:31.276 --> 00:29:32.457 align:center Now it's a big city, Sao 00:29:32.477 --> 00:29:32.758 align:center Paulo. 00:29:33.499 --> 00:29:35.662 align:center But in 1976 when Hermeto wrote 00:29:35.682 --> 00:29:37.404 align:center this piece, he was just coming, 00:29:37.444 --> 00:29:38.565 align:center actually I think it was even 00:29:38.585 --> 00:29:38.986 align:center 77. 00:29:39.607 --> 00:29:40.708 align:center That was the very first tune 00:29:40.748 --> 00:29:42.250 align:center that Hermeto Pasqual showed me when 00:29:42.331 --> 00:29:42.791 align:center I met him. 00:29:43.853 --> 00:29:46.096 align:center And it's just a gorgeous ballad. 00:29:46.496 --> 00:29:49.340 align:center And he has this ability to 00:29:50.670 --> 00:29:53.353 align:center Keep going like it. 00:29:53.373 --> 00:29:54.754 align:center I think it goes through every 00:29:54.854 --> 00:29:58.057 align:center key Every possible key. 00:29:58.278 --> 00:29:59.359 align:center I'm not sure I never did 00:29:59.399 --> 00:30:01.201 align:center the kind of statistical analysis of 00:30:01.321 --> 00:30:03.022 align:center it, but it's the what that 00:30:03.123 --> 00:30:05.985 align:center does the harmonic shifting of this 00:30:06.005 --> 00:30:09.949 align:center piece is that It gives colors 00:30:10.410 --> 00:30:12.072 align:center it so it's a very colorful 00:30:12.152 --> 00:30:15.575 align:center piece and again the importance of 00:30:15.635 --> 00:30:17.297 align:center what I said before just to 00:30:17.377 --> 00:30:20.440 align:center remind everybody don't 00:30:20.360 --> 00:30:23.844 align:center succumb to the temptation of thinking 00:30:24.024 --> 00:30:26.546 align:center everything instead of one, two, like 00:30:26.566 --> 00:30:29.449 align:center one, two, three, four. 00:30:29.550 --> 00:30:30.831 align:center If you start chopping it up 00:30:30.891 --> 00:30:32.713 align:center too much, you're going to lose 00:30:32.773 --> 00:30:35.075 align:center the ability to express. 00:30:35.376 --> 00:30:37.558 align:center It's going to become just a 00:30:37.638 --> 00:30:39.700 align:center finger exercise, which this is not. 00:30:40.621 --> 00:30:44.585 align:center The important technical aspects here is 00:30:44.645 --> 00:30:46.567 align:center to divide, because if you just 00:30:46.647 --> 00:30:47.769 align:center think of the pulse of a 00:30:47.849 --> 00:30:49.210 align:center ballad as being one, 00:30:54.550 --> 00:30:56.854 align:center Very soon there's a tendency for 00:30:56.894 --> 00:30:58.176 align:center that to become in a way 00:30:58.196 --> 00:31:02.923 align:center inducing trance, but also inducing you 00:31:02.943 --> 00:31:04.606 align:center falling asleep on just the same. 00:31:04.967 --> 00:31:05.988 align:center So one thing that I do 00:31:06.028 --> 00:31:08.052 align:center that helps is to keep a 00:31:08.092 --> 00:31:08.753 align:center little kick. 00:31:09.354 --> 00:31:11.617 align:center And this song, Campinas, has that 00:31:11.698 --> 00:31:14.101 align:center kick embedded in the music. 00:31:14.161 --> 00:31:15.363 align:center I want to call your attention 00:31:15.424 --> 00:31:15.784 align:center to that. 00:31:16.165 --> 00:31:19.490 align:center So instead of being one, two, 00:31:19.530 --> 00:31:25.515 align:center three, four, it's like one. 00:31:28.438 --> 00:31:28.598 align:center So 00:31:38.787 --> 00:31:41.130 align:center that kind of thing keeps, 00:31:41.150 --> 00:31:42.451 align:center it lifts up the music and 00:31:42.471 --> 00:31:43.191 align:center drops it again. 00:31:49.597 --> 00:31:51.459 align:center So it's a very slow, what 00:31:51.519 --> 00:31:52.720 align:center we call a 3-3-2. 00:31:53.010 --> 00:31:55.292 align:center one two three one two three 00:31:55.552 --> 00:31:57.654 align:center one two one instead of one 00:31:58.014 --> 00:32:00.416 align:center so i'm not doing a double 00:32:00.536 --> 00:32:02.698 align:center time feel i'm just inserting a 00:32:02.738 --> 00:32:04.259 align:center little lift in the middle and 00:32:04.319 --> 00:32:05.180 align:center by the way i use that 00:32:05.260 --> 00:32:06.401 align:center in infantize as well 00:32:17.170 --> 00:32:17.470 align:center so it's 00:32:17.630 --> 00:32:19.872 align:center it's there uh quickly check for 00:32:19.912 --> 00:32:21.853 align:center any uh thank you for the 00:32:21.893 --> 00:32:25.256 align:center improvisation uh comments there hayden it's 00:32:25.396 --> 00:32:26.837 align:center uh as i said it's very 00:32:26.857 --> 00:32:28.459 align:center inspiring to play good pieces of 00:32:28.539 --> 00:32:30.180 align:center music some ballads are kind of 00:32:30.120 --> 00:32:30.821 align:center Boring. 00:32:31.101 --> 00:32:33.223 align:center I prefer to not play them. 00:32:33.243 --> 00:32:34.164 align:center But when I have the choice 00:32:34.204 --> 00:32:35.926 align:center to pick the tunes, those are 00:32:36.026 --> 00:32:37.007 align:center always at the top of my 00:32:37.067 --> 00:32:37.848 align:center list. 00:32:37.868 --> 00:32:39.370 align:center Campinas by Rimeto Pasqual. 00:32:39.390 --> 00:32:40.371 align:center Let's take a look at that 00:32:40.471 --> 00:32:40.851 align:center next. 00:32:40.871 --> 00:32:43.794 align:center Just like I did with Infantias, 00:32:43.814 --> 00:32:46.677 align:center I'm just going to play the 00:32:46.757 --> 00:32:48.659 align:center chords with no melody. 00:32:48.679 --> 00:32:48.900 align:center Right? 00:32:49.760 --> 00:32:51.522 align:center So one, two... 00:32:52.644 --> 00:32:54.225 align:center There's a pickup which is on 00:32:54.245 --> 00:32:56.668 align:center C7sus, also that chord. 00:32:58.570 --> 00:32:58.890 align:center Three. 00:33:14.700 --> 00:33:15.260 align:center Kick. 00:33:27.281 --> 00:33:27.741 align:center Change. 00:33:31.702 --> 00:34:41.789 align:center It's 00:34:43.869 --> 00:34:44.989 align:center a 00:34:49.590 --> 00:34:59.151 align:center long 00:35:23.573 --> 00:35:32.734 align:center melody. 00:35:52.496 --> 00:35:57.097 align:center It's a 00:37:43.108 --> 00:37:47.148 align:center lot longer than infantiles, 00:37:47.168 --> 00:37:49.088 align:center but the way that it goes, 00:37:49.108 --> 00:37:50.628 align:center and I broke down the chart 00:37:50.748 --> 00:37:53.309 align:center into three parts, actually four parts, 00:37:53.829 --> 00:37:55.369 align:center so you can see just basically 00:37:55.409 --> 00:37:57.169 align:center to understand the music by chunks, 00:37:57.189 --> 00:37:58.749 align:center and I really recommend if you're 00:37:58.769 --> 00:38:00.429 align:center going to practice this, practice this 00:38:00.489 --> 00:38:02.070 align:center chunk separately. 00:38:02.090 --> 00:38:04.710 align:center Practice the possibilities of voicings in 00:38:04.730 --> 00:38:06.130 align:center the accompaniment first. 00:38:06.360 --> 00:38:07.782 align:center and then you're gonna see how 00:38:07.842 --> 00:38:10.025 align:center the melody fits over that super 00:38:10.045 --> 00:38:11.026 align:center nicely. 00:38:11.047 --> 00:38:14.511 align:center Quickly checking for some questions, no, 00:38:14.652 --> 00:38:16.594 align:center no comments there, so let's continue. 00:38:17.556 --> 00:38:18.617 align:center So what I'm gonna do right 00:38:18.677 --> 00:38:22.142 align:center now, I play the chords, I 00:38:22.182 --> 00:38:23.584 align:center play the melody, so now I'm 00:38:23.624 --> 00:38:26.248 align:center gonna improvise over that. 00:38:26.628 --> 00:38:27.990 align:center When I was playing with Armando 00:38:28.010 --> 00:38:30.754 align:center Pasquale's band, we would spend five 00:38:30.814 --> 00:38:32.396 align:center days a week, at least six 00:38:32.456 --> 00:38:35.100 align:center hours a day rehearsing intense music. 00:38:35.150 --> 00:38:36.672 align:center Lots of stuff they have to 00:38:36.772 --> 00:38:38.995 align:center practice, memorize, and this was just 00:38:39.056 --> 00:38:42.480 align:center like something that would be at 00:38:42.500 --> 00:38:44.003 align:center the end of like six hours, 00:38:44.103 --> 00:38:45.645 align:center our minds were like, our hands 00:38:45.665 --> 00:38:47.387 align:center were like full of all this 00:38:47.468 --> 00:38:48.950 align:center music. 00:38:48.970 --> 00:38:51.333 align:center So we use Campinas, this theme 00:38:51.533 --> 00:38:53.256 align:center that I'm showing to you, as 00:38:53.316 --> 00:38:55.880 align:center something to relax and also to 00:38:55.980 --> 00:38:57.422 align:center practice improvisation. 00:38:57.963 --> 00:38:59.164 align:center So we will play the tune 00:38:59.244 --> 00:39:00.586 align:center and everybody will play at least 00:39:00.666 --> 00:39:01.808 align:center one chorus, maybe two. 00:39:02.369 --> 00:39:03.210 align:center It's a long... 00:39:03.320 --> 00:39:05.944 align:center It's a long form, so two 00:39:05.984 --> 00:39:07.546 align:center choruses might be too long. 00:39:08.227 --> 00:39:09.408 align:center But maybe you can do two 00:39:09.468 --> 00:39:09.749 align:center choruses. 00:39:09.849 --> 00:39:11.671 align:center I've done it too. 00:39:11.751 --> 00:39:13.954 align:center So if you practice, you can 00:39:13.995 --> 00:39:15.056 align:center do 20 choruses. 00:39:15.176 --> 00:39:17.159 align:center It's totally fine to see where 00:39:17.199 --> 00:39:18.421 align:center this music takes you. 00:39:19.081 --> 00:39:20.724 align:center Instead of trying to think of 00:39:20.804 --> 00:39:21.665 align:center what am I going to do 00:39:21.745 --> 00:39:23.347 align:center on this music, see where is 00:39:23.387 --> 00:39:24.849 align:center this music taking me to? 00:39:25.630 --> 00:39:27.233 align:center And let the music take you, 00:39:27.253 --> 00:39:28.955 align:center because that's the beauty of some 00:39:28.995 --> 00:39:30.197 align:center of the harmonic changes. 00:39:30.717 --> 00:39:31.959 align:center Like when it goes, of course, 00:39:32.019 --> 00:39:32.720 align:center the giant step. 00:39:33.650 --> 00:39:36.574 align:center from D major to F sharp 00:39:36.594 --> 00:39:39.218 align:center major and there's a few of 00:39:39.278 --> 00:39:41.642 align:center those are from C major to 00:39:41.662 --> 00:39:44.226 align:center F sharp major and then go 00:39:44.246 --> 00:39:48.372 align:center chromatically and then to B which 00:39:48.392 --> 00:39:48.652 align:center is like this. 00:39:48.672 --> 00:39:50.155 align:center So this kind of changes they're 00:39:50.375 --> 00:39:53.760 align:center so inspiring 00:39:54.361 --> 00:39:55.423 align:center because if you're trying 00:39:55.443 --> 00:39:56.845 align:center to think in terms of scales 00:39:56.905 --> 00:39:59.889 align:center and linear structures that music will 00:40:00.049 --> 00:40:00.410 align:center trip. 00:40:00.590 --> 00:40:01.030 align:center you. 00:40:01.731 --> 00:40:02.712 align:center The scales are not going to 00:40:02.752 --> 00:40:02.932 align:center fit. 00:40:03.012 --> 00:40:04.053 align:center I mean they fit over one 00:40:04.073 --> 00:40:05.355 align:center chord but when the chord changes 00:40:05.375 --> 00:40:06.316 align:center you're going to have to play 00:40:06.356 --> 00:40:07.577 align:center in a broken way. 00:40:07.977 --> 00:40:09.159 align:center And what you're looking for is 00:40:09.219 --> 00:40:12.382 align:center try to find the waves, the 00:40:12.462 --> 00:40:14.064 align:center way that the lines and the 00:40:14.164 --> 00:40:16.906 align:center chords can overlap and create these 00:40:16.986 --> 00:40:19.589 align:center beautiful musical shapes which is really 00:40:19.609 --> 00:40:21.231 align:center the essence of what this playing 00:40:21.271 --> 00:40:22.532 align:center ballads is like. 00:40:23.133 --> 00:40:24.574 align:center So I'm going to play one 00:40:24.654 --> 00:40:27.577 align:center chorus of improvisation over the changes 00:40:27.657 --> 00:40:29.659 align:center of Campinas by Hermeto Pascual. 00:40:29.879 --> 00:40:30.480 align:center Here it goes. 00:40:31.710 --> 00:40:34.130 align:center One, two, 00:40:51.173 --> 00:43:06.576 align:center three, 00:43:06.656 --> 00:43:07.236 align:center four, goes back 00:43:07.296 --> 00:43:07.796 align:center into the head. 00:43:08.436 --> 00:43:09.556 align:center You will notice that one thing 00:43:09.596 --> 00:43:11.897 align:center that I usually steer away from 00:43:11.937 --> 00:43:14.517 align:center is to play the root in 00:43:14.577 --> 00:43:15.217 align:center my melodies. 00:43:16.017 --> 00:43:17.738 align:center And the melody sometimes, the written 00:43:17.798 --> 00:43:19.478 align:center melody sometimes has the root, but 00:43:19.518 --> 00:43:20.778 align:center it's just as a moment of 00:43:20.838 --> 00:43:21.978 align:center like rest. 00:43:22.138 --> 00:43:23.399 align:center So yes, you can play the 00:43:23.459 --> 00:43:25.759 align:center root, but if you stay only 00:43:25.839 --> 00:43:28.460 align:center arpeggio in the primary chords, you're 00:43:28.500 --> 00:43:29.940 align:center gonna get bored and your listeners 00:43:29.980 --> 00:43:31.140 align:center will get bored very soon. 00:43:31.400 --> 00:43:32.881 align:center So what we're trying to do 00:43:32.941 --> 00:43:35.223 align:center here is to create the opening 00:43:35.704 --> 00:43:36.545 align:center of these chords. 00:43:37.165 --> 00:43:38.126 align:center So if a chord is a 00:43:38.627 --> 00:43:39.527 align:center F major 7, 00:43:42.430 --> 00:43:43.031 align:center I am thinking 00:43:43.111 --> 00:43:44.452 align:center of the G major triad, C 00:43:46.374 --> 00:43:51.859 align:center major triad, D minor. 00:43:52.699 --> 00:43:53.820 align:center Yes, it's sort of beautiful. 00:43:53.880 --> 00:43:56.002 align:center Even D minor. 00:43:57.203 --> 00:43:59.405 align:center See, the A minor. 00:44:00.086 --> 00:44:02.128 align:center And most of those, a couple 00:44:02.168 --> 00:44:03.609 align:center of them do, but they don't 00:44:03.629 --> 00:44:04.550 align:center have the F in them. 00:44:05.250 --> 00:44:06.611 align:center So leave the F on the 00:44:06.671 --> 00:44:08.593 align:center bottom and use all the other 00:44:08.693 --> 00:44:11.396 align:center notes to expand and to create 00:44:11.556 --> 00:44:12.718 align:center out of this something that's going 00:44:12.738 --> 00:44:14.920 align:center to be really beautiful and inspiring, 00:44:15.500 --> 00:44:15.781 align:center right? 00:44:17.242 --> 00:44:19.624 align:center Oh, so yeah, so continuing here, 00:44:20.866 --> 00:44:23.588 align:center this tune, I mean, I learned 00:44:23.649 --> 00:44:25.150 align:center this piece of music from him 00:44:25.230 --> 00:44:26.151 align:center in 1977. 00:44:26.271 --> 00:44:28.734 align:center So it's been, it's going to 00:44:28.754 --> 00:44:30.555 align:center be 46 years since I learned 00:44:30.575 --> 00:44:31.597 align:center this piece of music and I'm 00:44:31.637 --> 00:44:33.879 align:center telling you, I have not gotten 00:44:33.899 --> 00:44:35.080 align:center to the end of it yet. 00:44:35.300 --> 00:44:37.525 align:center And I play this tune almost 00:44:37.625 --> 00:44:37.986 align:center daily. 00:44:38.066 --> 00:44:39.169 align:center It's one of the favorite tunes 00:44:39.189 --> 00:44:40.332 align:center that I play with my band, 00:44:40.492 --> 00:44:42.176 align:center whether it's a trio or quintet 00:44:42.697 --> 00:44:44.461 align:center or solo piano, I play this 00:44:44.582 --> 00:44:46.165 align:center piece and I try to really 00:44:46.266 --> 00:44:48.010 align:center get inside of it every time. 00:44:48.110 --> 00:44:49.293 align:center And every time I think I 00:44:49.333 --> 00:44:50.496 align:center get to the bottom of it, 00:44:51.197 --> 00:44:52.420 align:center something else opens up. 00:44:52.580 --> 00:44:54.122 align:center So I want you to treat 00:44:54.202 --> 00:44:56.145 align:center this music, both of these compositions, 00:44:56.226 --> 00:44:57.568 align:center not only that, but there's many 00:44:57.648 --> 00:44:59.310 align:center other beautiful ballads in the world 00:44:59.390 --> 00:45:02.175 align:center of jazz and even pop music 00:45:02.295 --> 00:45:03.957 align:center that can be explored in this 00:45:04.037 --> 00:45:05.580 align:center way because they were so well 00:45:05.660 --> 00:45:09.085 align:center constructed that they have this multiple 00:45:09.105 --> 00:45:11.068 align:center possibilities, like a good book that 00:45:11.108 --> 00:45:11.829 align:center you want to read. 00:45:12.370 --> 00:45:13.532 align:center You finish the book, you start 00:45:13.572 --> 00:45:15.114 align:center reading it again because you realize 00:45:15.154 --> 00:45:17.137 align:center that there's more there than you 00:45:17.177 --> 00:45:18.419 align:center saw in the first reading, like 00:45:18.479 --> 00:45:18.880 align:center a good... 00:45:19.070 --> 00:45:20.532 align:center beautiful piece of art or a 00:45:20.612 --> 00:45:22.455 align:center beautiful dish that just says I 00:45:22.535 --> 00:45:25.259 align:center could eat this again because once 00:45:25.359 --> 00:45:27.302 align:center is not enough you have you 00:45:27.362 --> 00:45:28.864 align:center keep going deeper and deeper and 00:45:28.924 --> 00:45:30.606 align:center deeper into it so the ability 00:45:31.087 --> 00:45:32.809 align:center of your inner ear as a 00:45:32.869 --> 00:45:35.833 align:center musician to accomplish this is that 00:45:35.894 --> 00:45:39.499 align:center is a practice and Make sure 00:45:39.539 --> 00:45:41.141 align:center you save enough time to kind 00:45:41.181 --> 00:45:43.044 align:center of like explore this music in 00:45:43.084 --> 00:45:46.548 align:center different ways bring different perspectives and 00:45:46.609 --> 00:45:47.690 align:center by the way 00:45:47.720 --> 00:45:48.862 align:center Now that I said all these 00:45:48.882 --> 00:45:50.746 align:center things about not thinking in double 00:45:50.806 --> 00:45:52.248 align:center time, if at one point after 00:45:52.309 --> 00:45:53.310 align:center you've played it quite a bit, 00:45:53.371 --> 00:45:56.937 align:center you want to switch to a 00:45:57.077 --> 00:45:59.121 align:center slight section of double time, it's 00:45:59.201 --> 00:45:59.542 align:center okay. 00:46:00.083 --> 00:46:02.147 align:center Remember that there's a big difference 00:46:02.307 --> 00:46:04.331 align:center between the whole, if you're playing 00:46:04.351 --> 00:46:05.894 align:center with a band, everybody going like 00:46:05.914 --> 00:46:09.140 align:center one, two, three, four. 00:46:16.900 --> 00:46:18.402 align:center That's one thing, that's going into 00:46:18.422 --> 00:46:19.043 align:center the double time. 00:46:19.063 --> 00:46:19.985 align:center The other thing is when the 00:46:20.105 --> 00:46:21.007 align:center pulse remains. 00:46:29.801 --> 00:46:31.764 align:center So I played a fast line 00:46:32.405 --> 00:46:34.127 align:center but that fast line did not 00:46:34.408 --> 00:46:39.175 align:center interfere with that one. 00:46:39.195 --> 00:46:40.818 align:center The pulse is still there even 00:46:40.878 --> 00:46:41.800 align:center though there might be a little 00:46:41.840 --> 00:46:42.080 align:center flirt. 00:47:14.380 --> 00:47:16.283 align:center I'm just quoting parts of this 00:47:16.363 --> 00:47:18.005 align:center melody, parts of the changes of 00:47:18.066 --> 00:47:20.289 align:center compilers as examples of what I'm 00:47:20.329 --> 00:47:20.910 align:center talking about. 00:47:21.010 --> 00:47:22.592 align:center These are really good things to 00:47:22.692 --> 00:47:23.814 align:center practice. 00:47:23.834 --> 00:47:26.939 align:center These are ways to search and 00:47:27.019 --> 00:47:31.025 align:center to really develop your own listening. 00:47:31.305 --> 00:47:33.208 align:center The depth of your listening is 00:47:33.348 --> 00:47:35.071 align:center one of the most precious things 00:47:35.151 --> 00:47:36.613 align:center that you would ever work on. 00:47:37.435 --> 00:47:41.060 align:center It's more important than... 00:47:41.480 --> 00:47:43.242 align:center the technique of the fingers. 00:47:43.262 --> 00:47:44.603 align:center The technique of the fingers is 00:47:44.664 --> 00:47:46.145 align:center important, but not for this kind 00:47:46.185 --> 00:47:47.627 align:center of playing. 00:47:47.647 --> 00:47:49.609 align:center It's something that everything you worked 00:47:49.809 --> 00:47:52.112 align:center on will help you to achieve 00:47:52.252 --> 00:47:54.034 align:center this, but more important is for 00:47:54.074 --> 00:47:55.536 align:center you to know when the lines 00:47:55.656 --> 00:47:58.179 align:center should just wait and when you 00:47:58.219 --> 00:47:59.981 align:center should breathe to make this music 00:48:00.121 --> 00:48:01.222 align:center happen, right? 00:48:01.863 --> 00:48:04.345 align:center So I'm gonna play it again. 00:48:05.166 --> 00:48:06.868 align:center Again, I'm gonna take one more 00:48:06.968 --> 00:48:08.430 align:center chorus over Campinas. 00:48:10.470 --> 00:48:12.010 align:center And when I'm doing that, I'm 00:48:12.170 --> 00:48:13.931 align:center also comping. 00:48:13.951 --> 00:48:15.871 align:center So I'm comping myself and sometimes 00:48:15.931 --> 00:48:18.131 align:center the solo becomes the comping because 00:48:18.191 --> 00:48:19.531 align:center you can also play with chords. 00:48:19.551 --> 00:48:20.792 align:center So I'll try to explore a 00:48:20.812 --> 00:48:21.812 align:center little bit of that if I 00:48:21.872 --> 00:48:23.372 align:center remember when I'm playing because once 00:48:23.392 --> 00:48:25.412 align:center you go into that zone, the 00:48:25.472 --> 00:48:26.972 align:center music takes you instead of you 00:48:26.992 --> 00:48:27.833 align:center taking the music. 00:48:27.853 --> 00:48:30.013 align:center So I'm gonna let this beautiful 00:48:30.053 --> 00:48:31.593 align:center composition take me somewhere and then 00:48:31.633 --> 00:48:32.533 align:center we'll see where you go from 00:48:33.173 --> 00:48:35.574 align:center there, okay? 00:48:36.114 --> 00:49:12.679 align:center One, 00:49:13.799 --> 00:49:34.642 align:center two, 00:49:34.922 --> 00:50:06.547 align:center three, 00:50:14.568 --> 00:51:33.360 align:center four, 00:51:33.380 --> 00:51:34.760 align:center and so... 00:51:34.570 --> 00:51:36.933 align:center Hopefully you can see there how 00:51:37.534 --> 00:51:39.377 align:center many possible ideas there are. 00:51:39.938 --> 00:51:41.520 align:center And at times I'm bringing something. 00:51:42.241 --> 00:51:43.583 align:center I have a comment from Steve 00:51:43.903 --> 00:51:45.566 align:center Schuler here, saying, very nice piece. 00:51:45.606 --> 00:51:47.669 align:center My first time hearing, so looking 00:51:47.749 --> 00:51:49.171 align:center for artists to hear this by 00:51:49.211 --> 00:51:50.473 align:center your suggestion would be good. 00:51:51.054 --> 00:51:51.755 align:center Yes, thank you. 00:51:52.556 --> 00:51:53.718 align:center Those are good suggestions. 00:51:53.798 --> 00:51:55.941 align:center I think, I mean, I come 00:51:56.001 --> 00:51:57.904 align:center from the school of Rometo Pasquale's 00:51:57.984 --> 00:51:58.865 align:center music. 00:51:58.885 --> 00:52:00.207 align:center So for me to be able 00:52:00.307 --> 00:52:02.390 align:center to share this music with other... 00:52:02.440 --> 00:52:04.623 align:center composers, with other pianists, with other 00:52:04.643 --> 00:52:05.183 align:center musicians. 00:52:05.284 --> 00:52:05.764 align:center It's great. 00:52:06.665 --> 00:52:08.167 align:center Everybody that has shown this music 00:52:08.207 --> 00:52:09.188 align:center too has loved it. 00:52:09.208 --> 00:52:11.932 align:center So you cannot go wrong with 00:52:11.972 --> 00:52:13.694 align:center this piece. 00:52:13.714 --> 00:52:16.197 align:center It's a great piece to develop 00:52:16.257 --> 00:52:18.440 align:center the technique of hearing changes. 00:52:19.621 --> 00:52:20.903 align:center When you hear the changes in 00:52:20.963 --> 00:52:24.387 align:center your inner ear, what you play 00:52:24.607 --> 00:52:26.109 align:center is going to reflect the depth 00:52:26.189 --> 00:52:26.810 align:center of your hearing. 00:52:27.500 --> 00:52:29.282 align:center And the more you develop that 00:52:29.343 --> 00:52:30.664 align:center depth, your playing is going to 00:52:30.724 --> 00:52:32.387 align:center be deeper too, and it's going 00:52:32.407 --> 00:52:33.448 align:center to be more inspiring. 00:52:33.809 --> 00:52:35.431 align:center And people who are listening to 00:52:35.471 --> 00:52:36.893 align:center you, they kind of follow. 00:52:36.913 --> 00:52:38.014 align:center This is not like kind of 00:52:38.115 --> 00:52:40.658 align:center background music, the elevator music, as 00:52:40.718 --> 00:52:42.080 align:center we say, that kind of stays 00:52:42.100 --> 00:52:42.921 align:center in the wallpaper. 00:52:43.542 --> 00:52:45.805 align:center This is something that challenges not 00:52:45.885 --> 00:52:47.748 align:center only the player, but also challenges 00:52:47.848 --> 00:52:48.469 align:center the listener. 00:52:49.190 --> 00:52:50.652 align:center Very important to be able to 00:52:50.792 --> 00:52:53.395 align:center keep doing that as something that 00:52:54.217 --> 00:52:54.657 align:center grows. 00:52:55.679 --> 00:52:56.720 align:center As I said before, 00:52:57.320 --> 00:52:59.162 align:center 46 years later, I'm still growing 00:52:59.202 --> 00:52:59.843 align:center with this music. 00:52:59.963 --> 00:53:01.705 align:center This music is just like you 00:53:01.765 --> 00:53:02.345 align:center work out. 00:53:02.405 --> 00:53:03.707 align:center You take some weights and you 00:53:03.727 --> 00:53:04.908 align:center kind of build up your muscles. 00:53:05.268 --> 00:53:06.590 align:center You play this music to build 00:53:06.710 --> 00:53:09.232 align:center up your hearing, not the muscles, 00:53:09.292 --> 00:53:11.995 align:center but your perception and the depth 00:53:12.055 --> 00:53:12.936 align:center of your perception. 00:53:13.056 --> 00:53:14.578 align:center How deep can you listen to 00:53:14.638 --> 00:53:15.278 align:center this music? 00:53:16.380 --> 00:53:17.421 align:center It's a process. 00:53:17.961 --> 00:53:18.982 align:center I'm not done with it. 00:53:19.142 --> 00:53:20.244 align:center And I think you won't be 00:53:20.284 --> 00:53:21.145 align:center either if you start. 00:53:21.225 --> 00:53:22.806 align:center So great idea. 00:53:23.287 --> 00:53:24.048 align:center And I think I'm going to 00:53:24.108 --> 00:53:25.970 align:center close today by just playing the 00:53:26.010 --> 00:53:26.470 align:center head out. 00:53:26.790 --> 00:53:29.514 align:center just playing the melody as it 00:53:29.654 --> 00:53:31.758 align:center is with my own interpretation, which 00:53:31.838 --> 00:53:32.899 align:center is different every time. 00:53:32.940 --> 00:53:34.081 align:center But hopefully this will be a 00:53:34.141 --> 00:53:35.564 align:center way for you to inspire all 00:53:35.624 --> 00:53:37.266 align:center of you to practice this music. 00:53:37.727 --> 00:53:39.570 align:center Hayden has made the link available. 00:53:39.970 --> 00:53:41.092 align:center And you would also get the 00:53:41.152 --> 00:53:43.636 align:center lead-up keyboards afterwards with the MIDI 00:53:44.317 --> 00:53:46.481 align:center information so you can also see 00:53:46.761 --> 00:53:48.063 align:center what kind of voices I played, 00:53:48.083 --> 00:53:49.405 align:center what kind of notes I chose. 00:53:50.086 --> 00:53:52.590 align:center And you will see that I'm... 00:53:52.730 --> 00:53:54.793 align:center As I said, also repeat that, 00:53:54.833 --> 00:53:57.858 align:center that I'm avoiding the roots, because 00:53:57.878 --> 00:53:59.380 align:center the moment you close the roots, 00:54:00.101 --> 00:54:01.783 align:center there's like a short circuit. 00:54:01.803 --> 00:54:03.907 align:center The tune closes on itself. 00:54:03.927 --> 00:54:05.909 align:center So now, by avoiding the roots, 00:54:06.110 --> 00:54:07.592 align:center you are going out of the 00:54:07.692 --> 00:54:09.615 align:center window instead of locking the doors 00:54:09.675 --> 00:54:11.137 align:center in the windows and closing the 00:54:11.217 --> 00:54:14.402 align:center redundancy of the unison between melody 00:54:14.462 --> 00:54:15.283 align:center and bass. 00:54:15.303 --> 00:54:16.585 align:center You open it up and then 00:54:16.605 --> 00:54:18.047 align:center you keep going, and you keep 00:54:18.108 --> 00:54:18.368 align:center going. 00:54:18.408 --> 00:54:19.550 align:center Where you stop, it's up to 00:54:19.610 --> 00:54:19.810 align:center you. 00:54:20.060 --> 00:54:20.561 align:center Okay? 00:54:21.162 --> 00:54:22.423 align:center So I'm going to play the 00:54:22.483 --> 00:54:24.687 align:center theme, the head out of Campinas 00:54:24.787 --> 00:54:26.189 align:center by Armento Pascual and I hope 00:54:26.269 --> 00:54:28.212 align:center everybody's enjoyed this live seminar. 00:54:28.692 --> 00:54:30.315 align:center You can always send me messages 00:54:30.475 --> 00:54:31.677 align:center on the chat and on the 00:54:31.737 --> 00:54:33.920 align:center conversation on the site for Piano 00:54:33.960 --> 00:54:34.240 align:center Groove. 00:54:34.280 --> 00:54:35.482 align:center It's a pleasure to work with 00:54:35.542 --> 00:54:36.203 align:center all of you here. 00:54:36.624 --> 00:54:37.785 align:center I know there's people from all 00:54:37.845 --> 00:54:38.987 align:center over the world and I'm so 00:54:39.047 --> 00:54:40.249 align:center happy to be able to reach 00:54:40.369 --> 00:54:41.991 align:center out to all of you and 00:54:42.071 --> 00:54:43.834 align:center spread this beautiful music that we 00:54:43.894 --> 00:54:44.234 align:center all love. 00:54:44.635 --> 00:54:44.975 align:center Okay? 00:54:45.416 --> 00:54:47.138 align:center So here goes Campinas as a 00:54:47.179 --> 00:54:48.240 align:center theme head out. 00:57:43.220 --> 00:57:45.163 align:center Thank you Amato Pasquale for writing 00:57:45.203 --> 00:57:46.365 align:center such beautiful music. 00:57:46.525 --> 00:57:48.388 align:center Actually, Amato Pasquale is on tour 00:57:48.428 --> 00:57:50.310 align:center in the United States this week 00:57:50.350 --> 00:57:50.891 align:center and the next. 00:57:50.931 --> 00:57:52.674 align:center So if you are anywhere near 00:57:52.694 --> 00:57:54.276 align:center where he's coming, he's going to 00:57:54.296 --> 00:57:56.539 align:center be 87 years old next month 00:57:56.680 --> 00:57:58.322 align:center and he's playing with this amazing 00:57:58.402 --> 00:57:58.723 align:center band. 00:57:59.283 --> 00:58:01.387 align:center I'm in Seattle and actually my 00:58:01.447 --> 00:58:02.288 align:center band is going to open for 00:58:02.348 --> 00:58:05.412 align:center his band on Tuesday, the 31st, 00:58:05.493 --> 00:58:07.556 align:center the 30th of May, 30th of 00:58:07.656 --> 00:58:08.577 align:center May on Tuesday. 00:58:08.597 --> 00:58:10.280 align:center I believe that's the date. 00:58:10.300 --> 00:58:10.640 align:center Anyway. 00:58:10.800 --> 00:58:11.922 align:center Check it out, check out my 00:58:11.982 --> 00:58:13.905 align:center website, check out Hermeto's website, and 00:58:13.925 --> 00:58:15.348 align:center of course, check out Piano Groove's 00:58:15.368 --> 00:58:16.930 align:center website, where there's so much great 00:58:16.950 --> 00:58:17.692 align:center information is. 00:58:17.732 --> 00:58:19.595 align:center I'd like to thank everybody for 00:58:19.695 --> 00:58:20.697 align:center being part of it. 00:58:23.201 --> 00:58:24.724 align:center Found your recording on Apple Music. 00:58:24.744 --> 00:58:25.806 align:center Oh, you did find a recording 00:58:25.866 --> 00:58:26.647 align:center of me on this, too. 00:58:26.687 --> 00:58:27.108 align:center Thank you. 00:58:27.729 --> 00:58:29.552 align:center And thanks, Hayden, for making it 00:58:29.592 --> 00:58:30.914 align:center possible for us to do this, 00:58:31.054 --> 00:58:32.417 align:center and I will see you all 00:58:33.138 --> 00:58:34.340 align:center next... 00:58:34.430 --> 00:58:34.812 align:center time. 00:58:34.872 --> 00:58:35.937 align:center Next month we have a new 00:58:36.018 --> 00:58:37.424 align:center live seminar, a new subject. 00:58:37.465 --> 00:58:38.630 align:center Always a pleasure to be here 00:58:38.670 --> 00:58:39.575 align:center sharing music with you. 00:58:40.037 --> 00:58:41.002 align:center So thanks everybody. 00:58:41.042 --> 00:58:41.846 align:center Have a great day. 00:58:42.569 --> 00:58:42.770 align:center Bye.