morning on so when is the right time
I believe that context is everything in
life you can be right here but wrong
there you can be early but you can still
be too late at the same time and you can
be considered radical but you can also
be considered boring and one day so the
idea of being right or wrong is based on
the concept of relativity and relativity
is the only way to really determine the
justifiability of certain actions and
thereby allowing us to make the right
decision and today I’m going to talk
about about relativity and freedom of
expression in the context of jazz
language just like any form of
expression there are guidelines and
limitations however today I’ll give a
shot at explaining the mentality and the
technicality that were used by my heroes
in their expression when speaking the
language of jazz and so when people hear
the word jazz they usually think of
elevated music very polite moody gentle
but they don’t know much about the
rebellious aspect of jazz music and
that’s how really jazz got started in
the first place
and so today I’m going to address that
aspect of jazz and so in order to talk
about you know being rebellious and
being radical let’s leave Kenny G our
discussion Charlie Parker Miles Davis
Bill Evans and John Coltrane and
Thelonious Monk and the list goes on
today I’ll dive into monk and his unique
approach to music monk is one of the
most identifiable musicians of all time
as soon as you hear multiplay you can
immediately tell that it’s about play so
this is one of most composition Bluma in
order to dissect the intentions of monk
I’ll briefly explain to you how jazz is
normally played and so the first
and so first the band would play the
melody and the melody is pre-written as
you can see in the chart above and each
instrumentalists will take his turn to
improvise and other musicians
simultaneously accompany the soloists
based on the chord progression
identified of the chart after a definite
instrumentalism provides the band plays
the melody all together and finishes off
the song it’s very much like a musical
debate or a discussion where musicians
were able to share the perspectives and
ideas on this pre-written music and
improvisation is the vast majority of
jazz music and in fact it is the
identity of jazz music and people often
fantasize the fact that musicians were
able to make up stuff at the moment
however it has various methods and
processes that musicians study in order
to play the best possible music in the
highly spontaneous setting and so here
are some of those techniques you have
the option to play the notes that are
part of the port that is being played
underneath you so as in the charter boat
there are three different types of
chords in this particular tune blue mark
II flat 7 E flat seven and s7 and each
chord is composed of four different
notes in this case and the musician can
choose one of those four notes so B flat
7 consists of notes B flat D as the neck
slabs so when the Bell plays the chord B
flat the musician can play any of the
red dots indicated in the fretboard
diagram you’ll be playing around though
if you were playing outside of those red
dots and these flat 7 consists of
knowledge a flat G B flat and D flat and
the same rules apply and the last chord
f7 is composed of notes as a C and B
flat and the same is the same rules
apply here as well and this is the most
conventional way to approach
improvisation and probably the most
correct way so here’s my advice solo
the phone Goomer following this
so how did mark play a song himself what
made him so different what made him and
his performance so unique in you and so
I transcribed a little section of his
solo piano performance from his album
alone in San Francisco take a listen and
you will find a very odd spot in this
musical passage
I found measure three very interesting
and different let’s listen to it one
more time so more causal to play a
dissonant as you can tell something
doesn’t sound right
it does not seem to be in tune and this
even can be unpleasant to hear and also
from the perspective of music theory it
is a wrong note as well those two notes
ENS are in harmonic with the court that
is being played underneath and most
playing a wrong note believe it or not
this is his style and this is what we
call unique and stylish most plays these
groups of notes all over his music and
these add up to create monk and his
unique voice and James his radical
moonstruck knee it inspired me to think
in greater depth
what makes monk different from a
three-year-old kid banging on a piano
and producing random notes since there
is no musical rules that are enforced
upon a three-year-old or this jazz
legend are they the same what makes monk
and his music so special and creative
and radical and bold
however the radical notes were not the
notes that really blew my mind it was a
note that he played right after this
radical yes and so Marcos of the player
D and D is the third chord B flat which
is considered correct right in tune mock
broadest musical passage back into the
guidelines thereby making every
spontaneous move outside the box much
more radical and interesting that really
blew my mind that changed me and that
idea struck me with great power
Moke was able to bring his musical idea
outside of the box and safely brought it
back in to make his musical sentence
valid and mom played a role notes and
then immediately God went on to play the
very
to make his musical sentence value and
what was being loved and then as he
followed the guidelines and the norms to
make his musical sentence valid I
referred to this process as being marked
and so I went back to experiment with
this idea myself now I can break any
guidelines limitations and structures
that was imposed upon me as long as I
brought my ideas back it was a very
liberating moment all of a sudden I gave
infinite amount of options of expression
and the freedom to explore as long as I
brought my ideas back to the boundaries
of guidelines so here’s a clip of me
play among blue milk
so as much as Mach played out wrong
played in and right and he knew when to
bring music ideas back into the
guidelines in order to make his music
valid and comprehensive based on the
rule of context and relativity and the
ability to bring his ideas back into
context made every move outside the
convention radical both unique and
engaging above all mocking this voice
his style of music at the same time he
gained the freedom to explore the
infinite sea of options of expressions
and the musical ideas as well and
encouraging others that followed to be
brave and to challenge themselves to
stand out of social conventions as long
as they are able to bring the idea back
into context as an individual living
through an ever-changing world where
creativity is an essential character I
hope you all take something away from
monk and his music but after all I
really wanted to remind myself to be
creative and to leave the conventions
and to take really take my time to
explore and to be fearless and to form
my own voice that is different from any
others thank you very much [Applause]
I believe that context is everything in
life you can be right here but wrong
there you can be early but you can still
be too late at the same time and you can
be considered radical but you can also
be considered boring and one day so the
idea of being right or wrong is based on
the concept of relativity and relativity
is the only way to really determine the
justifiability of certain actions and
thereby allowing us to make the right
decision and today I’m going to talk
about about relativity and freedom of
expression in the context of jazz
language just like any form of
expression there are guidelines and
limitations however today I’ll give a
shot at explaining the mentality and the
technicality that were used by my heroes
in their expression when speaking the
language of jazz and so when people hear
the word jazz they usually think of
elevated music very polite moody gentle
but they don’t know much about the
rebellious aspect of jazz music and
that’s how really jazz got started in
the first place
and so today I’m going to address that
aspect of jazz and so in order to talk
about you know being rebellious and
being radical let’s leave Kenny G our
discussion Charlie Parker Miles Davis
Bill Evans and John Coltrane and
Thelonious Monk and the list goes on
today I’ll dive into monk and his unique
approach to music monk is one of the
most identifiable musicians of all time
as soon as you hear multiplay you can
immediately tell that it’s about play so
this is one of most composition Bluma in
order to dissect the intentions of monk
I’ll briefly explain to you how jazz is
normally played and so the first
and so first the band would play the
melody and the melody is pre-written as
you can see in the chart above and each
instrumentalists will take his turn to
improvise and other musicians
simultaneously accompany the soloists
based on the chord progression
identified of the chart after a definite
instrumentalism provides the band plays
the melody all together and finishes off
the song it’s very much like a musical
debate or a discussion where musicians
were able to share the perspectives and
ideas on this pre-written music and
improvisation is the vast majority of
jazz music and in fact it is the
identity of jazz music and people often
fantasize the fact that musicians were
able to make up stuff at the moment
however it has various methods and
processes that musicians study in order
to play the best possible music in the
highly spontaneous setting and so here
are some of those techniques you have
the option to play the notes that are
part of the port that is being played
underneath you so as in the charter boat
there are three different types of
chords in this particular tune blue mark
II flat 7 E flat seven and s7 and each
chord is composed of four different
notes in this case and the musician can
choose one of those four notes so B flat
7 consists of notes B flat D as the neck
slabs so when the Bell plays the chord B
flat the musician can play any of the
red dots indicated in the fretboard
diagram you’ll be playing around though
if you were playing outside of those red
dots and these flat 7 consists of
knowledge a flat G B flat and D flat and
the same rules apply and the last chord
f7 is composed of notes as a C and B
flat and the same is the same rules
apply here as well and this is the most
conventional way to approach
improvisation and probably the most
correct way so here’s my advice solo
the phone Goomer following this
so how did mark play a song himself what
made him so different what made him and
his performance so unique in you and so
I transcribed a little section of his
solo piano performance from his album
alone in San Francisco take a listen and
you will find a very odd spot in this
musical passage
I found measure three very interesting
and different let’s listen to it one
more time so more causal to play a
dissonant as you can tell something
doesn’t sound right
it does not seem to be in tune and this
even can be unpleasant to hear and also
from the perspective of music theory it
is a wrong note as well those two notes
ENS are in harmonic with the court that
is being played underneath and most
playing a wrong note believe it or not
this is his style and this is what we
call unique and stylish most plays these
groups of notes all over his music and
these add up to create monk and his
unique voice and James his radical
moonstruck knee it inspired me to think
in greater depth
what makes monk different from a
three-year-old kid banging on a piano
and producing random notes since there
is no musical rules that are enforced
upon a three-year-old or this jazz
legend are they the same what makes monk
and his music so special and creative
and radical and bold
however the radical notes were not the
notes that really blew my mind it was a
note that he played right after this
radical yes and so Marcos of the player
D and D is the third chord B flat which
is considered correct right in tune mock
broadest musical passage back into the
guidelines thereby making every
spontaneous move outside the box much
more radical and interesting that really
blew my mind that changed me and that
idea struck me with great power
Moke was able to bring his musical idea
outside of the box and safely brought it
back in to make his musical sentence
valid and mom played a role notes and
then immediately God went on to play the
very
to make his musical sentence value and
what was being loved and then as he
followed the guidelines and the norms to
make his musical sentence valid I
referred to this process as being marked
and so I went back to experiment with
this idea myself now I can break any
guidelines limitations and structures
that was imposed upon me as long as I
brought my ideas back it was a very
liberating moment all of a sudden I gave
infinite amount of options of expression
and the freedom to explore as long as I
brought my ideas back to the boundaries
of guidelines so here’s a clip of me
play among blue milk
so as much as Mach played out wrong
played in and right and he knew when to
bring music ideas back into the
guidelines in order to make his music
valid and comprehensive based on the
rule of context and relativity and the
ability to bring his ideas back into
context made every move outside the
convention radical both unique and
engaging above all mocking this voice
his style of music at the same time he
gained the freedom to explore the
infinite sea of options of expressions
and the musical ideas as well and
encouraging others that followed to be
brave and to challenge themselves to
stand out of social conventions as long
as they are able to bring the idea back
into context as an individual living
through an ever-changing world where
creativity is an essential character I
hope you all take something away from
monk and his music but after all I
really wanted to remind myself to be
creative and to leave the conventions
and to take really take my time to
explore and to be fearless and to form
my own voice that is different from any
others thank you very much [Applause]
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