teach me how to play piano Now it's YOUR turn to be the life and soul of the party!. Click Here 👈 so let's say I want t...
teach me how to play piano
Now it's YOUR turn to be the life and soul of the party!. Click Here 👈
so let's say I want to play a jazz standard like satin [Music] doll but turn it into a [Music] montuno today I'll show you how to create a montuno pattern out of any core progression and by the way you can apply these Concepts to any montuno pattern that you want all right so the first thing we need to do is decide on the montuno pattern that we're going to use here's the two three clave montuno pattern we're going to [Music] use remember to choose the correct pattern for the clock that you're using the downbeat goes in the two part of the clave and the upbeats on the three part of the clave and usually you want to create a four measure pattern because that's what works for most forms now you need to decide on the compound line that you're going to use for your montuno we just did a video on compound lines using Billy Joel's summer Holland Falls to show you how compound lines emerge from different layers when you play patterns using different l layers you can check that video in the iard right there piano montunos always have two layers the outside layer which creates the montuno line and the inside layer which provides the rest of the harmonic context and usually the outside line is a guide tone line for example on an E minor 7 to A7 we can play something like [Music] this notice how the line D to C sharp is a guide tone line for an E minor 7 to A7 progression remember that the guide tones of a chord are the three and the seven of the chord the guide tones for E minor 7 are G the 3 and D the 7th and the guide tones for A7 are G and C sharp so in an E minor 7 to A7 progression the D wants to move to C Shar and of course the G wants to stay fixed because it's the third of E minor 7 which turns into the seven of A7 and sure we could use that guide tone line to create a manuno pattern but the moving line is way better now the inner layer in the montuno is used to provide the harmonic context so on E minor 7 we can play G and B to complete the E minor 7 chord remember that the note E is on the base so we don't really need it here and on A7 we can play G and a or g and e but a much better inline for A7 is G and B exactly as on the E minor or seven and this is because on any chord the most important notes are the guide tones and we're already providing the C on our outside line so we just need to add the G to the Inner Line to make sure that we've also included the seventh of our chord now we're free to choose the other note for the inner harmonic line so our options would be a chord tone e or a or one of those nice tensions that we're always talking about the ninth b or the 13th FP and the ninth works great and it's really easy to play because it's the exact same note that we're playing on the E minor [Music] 7 by the way you'll see that all the left hand is really doing here is copying the bottom notes of the right hand this is the simplest most straightforward approach to a montuno and as you can hear it really opens up the sound of our Arrangement a great exercise to practice is to play parallel descending two fivs like [Music] this in the PDF we we've added this exercise in all keys so you can work on it so let's take a look at some of the important characteristics that we use to turn satin doll into a on tun them [Music] as you can see right off the bat in the first measures we're using the exact formula that we gave you earlier the flat 7 of D Minor moves to the third of G7 C to B in the Inner Harmony we're just using F and a for both chords you'll see the same exact thing in measures 3 and four with the E minor 7 to A7 also another important thing to pay attention to is what's happening here at the end of measure two these notes are in consideration of the next chord E minor 7 not the G7 and measure 2 in that regard I want you to see these as pickup notes into the next measure this is kind of a consequence of another trait of the montuno the base in Latin grooves is almost always playing ahead of the harmony you'll see the same pickup note approach here at the end of measure six as well it's also important to consider breaking the montuno during the turnaround this can be done by simply abandoning the montuno characteristics that we've spoken about to this point and just comp using interesting voicings for a split second you'll notice that we replaced the two5 with two sharp n chords at the end of the section these chords with these tensions always fit the style really well and always sound good and you can see this same exact technique used again at the end of the B section down here in the B section you'll also notice that we have this chord F major 7 that doesn't change for a couple measures so what we'll do here to create more of a sense of movement is play a line cliche and we'll go with a 765 in this case but really any line cliche will work here it's all of these little things that come together to create that classic montuno sound and like I said these are foolproof techniques that you can always rely on to play or create any Montuna [Music] n [Music] in the PDF for today's video we have annotated all the important Concepts used and remember all of our members will get this PDF which links to this video for future reference and to an exclusive access video with call and response backing tracks and if you're not a member yet what are you waiting for go ahead and join right here on YouTube and gain access to this and all the great materials that we publish on a regular basis [Music] n [Music] ...
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