Bill Evans chord progression:

Bill Evans chord progression:

Source: http://jazzicons.com/ji3_evans.html

I've studied many pianist’s styles and techniques, but there’s one that has captivated me deeply since I discovered him. His name was Bill Evans, many people consider him the epitome of class when it comes to the piano, and some even remember him as the piano poet because of his melodic playing. I’ve learned many useful things from this pianist and today I will share with you a specific progression that I think everyone must know because it is so beautiful and classy.

Remember, this is my interpretation of the way he played it and in no way I’m telling you that this is how YOU have to play it, I’m just trying to help those in need of music guidance to enrich their music, and what better way to do that than to learn from the master himself Bill Evans.

The son is called: “My foolish heart”, here is the link:

https://www.youtube.com/watch?v=a2LFVWBmoiw

This rendition is beyond words, the way Bill plays it is so calm and thoughtful it almost feels like he is not thinking at all, but if we break down the chords we realize that there’s a master mind and heart behind every single note been played.

Watch the video completely first and then click on the link bellow so that you can go specifically to the progression I will discuss. It starts at about 1:57 and ends in 2.00.

https://youtu.be/a2LFVWBmoiw?t=1m57s

This progression we’re listening above is serving the purpose of a  2, 5, 1 progression because he is trying to get back to the root of the song which is A. However, Bill Evans does this in such a subtle way that it completely passes you by without noticing how amazing this transition is. We will be playing B which is the II from A, then E which is the V from A and then back to the root, although in the video itself he leaves the bass sustained in E creating a magical slash chord. (Check out my other post on Yin and Yang slash chords so that you can learn more about this chord.)

1-) The very first chord we hear is a B 13^th chord but played in a very specific way. I like to remember this chord not as a 13^th but rather a major 6^th chord with the tonic added on our last finger (pinky finger.) I've specifically heard this chord being used a lot in Bossa nova music by many great artists! We will play it this way. On the left hand we will use a minor 7^th interval starting on B (B+A), and on the right hand we will play a B Major 6^th chord adding the tonic on our pinky finger but starting on the Major third from B which is Eb or (D#) like this:(Eb or D# + Ab or G# + B)

2-) Now we will leave the same notes on our left hand and focus on the right hand. The chord is a B Augmented 5^th adding the 9^th on our pinky finger, but also starting on the same Major third from B which is Eb or (D#) like this:         (Eb or D# + G + Db or C#). If you noticed we only changed two notes this time around. Take a moment to notice them.

3-) Next, on the bass we will go to the V of the transition which is E, and we will play a power chord or a perfect 5^th interval from E like this: (E+B). On the right hand we will play a delicious 11^th chord that will give way to our final chord and it is serving as the balance in this whole thing. Play an E 11^th chord like this:     (D + F# or Gb + A)

4-) Finally we will end the transition in a beautifully played chord which Bill Evans collocated with the greatest care and tenderness this passage deserved and needed. This a true sign of maturity in music, the wise usage of dynamics. On the left hand we will leave the same E power chord from before and focus on the right hand. Play an E Dominant chord with a minor 9^th or flat 9^th.               (D + F + B) Ab or G# optional!

This is in my opinion a very effective implementation of inner voicing. If you noticed, we did a chromatic change downward in the notes that occupy the middle of the chord, and our pinky finger also told a story by changing whole steps in every chord. This is what story telling is all about in Jazz. To our ears it sounds beautiful and simple, but once we analyze it deeply, we can see why Jazz deserves to be more implemented in all musical genres. The richness and fullness of harmonization we have at our fingertips is endless.

Now learn this progression and apply it your own way by changing notes within the progression chords.

Enjoy!

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com  

My top ten musical influences:

My top ten musical influences:

Many people have asked me through social media about my musical influences. I tried to compile a list of the artists I always revisit in my IPOD to study over and over again. Of course, there will always be people left out because my musical influences are very broad. I have listened to everything I could get my hands on throughout my life, no matter the style or artist. I think that we can all learn something from anyone.

As a composer, I think this is a key element. If we adapt ourselves to listening to all kinds of music without judgments or biased point of views, we can learn something new. In the long run you will find yourself gravitating towards a specific artists or a few, by that point you will most likely have developed a voice of your own, but we will get to that on another post.

Here’s my list of all-time favorite artists/musicians and a link to a favorite song, I will also explain the reason why.

                                 1.     Ludwig van Beethoven

Source: http://lucare.com/immortal/

This is where it all started for me as a pianist. I was trained in classical music and from all the beautiful classical pieces I had to learn, I always ended up in this specific pianist. His work is essential to know for anyone out there, even if you don’t play piano. The way Beethoven harmonized his pieces will help you see many new ways of harmonizing your own music. The patterns in the left hand used throughout his work are very effective warming up exercises I use randomly anytime I have a show. I've memorized many of his compositions, but my favorite one to play and study is:

Sonata No. 8 Op. 13 (Pathetique)

https://www.youtube.com/watch?v=SrcOcKYQX3c

                                   2.     Francisco Cespedes

Source: http://www.postiar.com/post/8627/pancho-c%C3%A9spedes-francisco-cespedes-complete-discography.html

From a very early age I was introduced to this master Cuban jazz singer. I became interested in Jazz because of his music. The way his songs touch your soul has no comparison. A great crooner indeed and a songwriter that knows how to twist your heart and make you feel deep emotions. I have learned every single one of his songs and even had the immense pleasure of playing live shows with his band.

Que hago contigo

https://www.youtube.com/watch?v=CNRQ_0N4Fa8

                                        3.     Michael Jackson

Source: http://www.onextrapixel.com/2009/06/30/13-photos-and-illustrations-to-pay-a-tribute-to-the-king-of-pop-michael-jackson/

I’m pretty positive a lot of you reading this also love this artist as I do. He forever changed the meaning of Pop Music with his originality. However, I always find myself going back to a song which has made me cry many times because of the amount of energy and sadness I receive from this song. Even before speaking any English, I could feel every word of this song breaking my heart one at a time. Learn this song and study it, you will find a new path to your musical heart.

Earth Song

https://www.youtube.com/watch?v=XAi3VTSdTxU

                                          4.     George Benson

Source: http://www.eventbrite.com/e/taste-of-black-columbia-featuring-grammy-winner-george-benson-hosted-by-celebrity-chef-daniel-thomas-tickets-6150278649

The moment I discovered this masterful guitarist, I knew I had to get a closer look at his beautiful compositions. I also learned many of his guitar licks on the piano and tried to re-play them along with his albums in my house as close as possible. The improvisation techniques I saw in his playing are out of this world, and the way he connects his ideas are very coherent.

Masquerade

https://www.youtube.com/watch?v=sgl1hQmjITY

                                              5.     Kenny G

Source: http://blog.pennlive.com/go/2011/12/strand_theatre_hosts_smooth_ja.html

It was tough to learn Jazz in the beginning. I would get so frustrated at myself because I knew I could play more than my brain was processing at the time. That is until I heard Kenny G’s music. I started learning his music and gained new and easy insight into this Jazz language I had no clue about. There are many beautiful arrangements I like from this artist, but there’s one in particular that totally opens up my inspiration every time.

The music that makes me dance

https://www.youtube.com/watch?v=9fnQmrImI4k

                                        6.     Alejandro Sanz

Source: http://us.hola.com/biografias/alejandro-sanz/biografia/

This is the artist I keep going back to since childhood. I was forever scared by his music in a good way. There are just too many songs that I would recommend, but there is one in particular that I think remodeled Spanish Pop music and served as a guideline for many other artist later on. This song’s harmony is a must learn! You have to get your hands on this song and rip it apart, there’s so much musical wisdom and street smart ideas here that I can’t even begin to count.

Cuando nadie me ve

https://www.youtube.com/watch?v=bfa1BtwFows

                                         7.     Brian Culbertson

Source: http://www.mtv.com/artists/brian-culbertson/

This amazingly funky, incredibly insightful and just totally awesome pianist made me realize Smooth Jazz was a very respectable Genre and I needed to make my music with this intention. This pianist can relax your mind and calm your spirit like few other artists can. He can be melodic, sweet, and aggressive all at the same time, but always keeping it along the lines of good taste.

Wear it out

https://www.youtube.com/watch?v=EEN9Mbqj2fw

                                        8.     Earth Wind and Fire

Source: http://www.legacyrecordings.com/a/#/artist/earth-wind--fire/1650/

One of my all-time favorite bands. These people have very awesome taste in music, and from the moment you hear any of their tracks, the sound becomes detectable within a second. They are the definition of professionalism and class. This band has set a very high standard for others to come. I just love to listen to them any day, any time. The sax solo is the stuff of legends (learn it and play it)….

Reasons

https://www.youtube.com/watch?v=YYQrLAkDLR4

                                               9.     Gino Vanelli

Source: https://dunderbeck1980.wordpress.com/2013/06/16/gino-vannelli-the-legacy-of-an-unheralded-funkjazz-icon/

This amazingly talented artist made me want to better my understanding of his music. After learning about 50 of his songs I was not disappointed, there is so much schooling in these arrangements is ridiculous. You will never learn in school what you will learn with this artist.

Brother to brother

https://www.youtube.com/watch?v=4ZrF76MuF0w

                                              10. Chick Corea

Source: http://revive-music.com/2012/06/12/happy-71st-to-chick-corea/

How could I put into words the amount of music and lessons I've learned from  this musical GURU’s work? He is a master at his craft. From the days of the Electric Band to his new materials, I’m a big FAN. I have studied his complexity and to be honest, some of his stuff I still can’t quite figure out, but I’m persistent and I love his music so I know one day I will.

King cockroach

https://www.youtube.com/watch?v=vvoPL6Ezn70

This is just a very condensed list of some of my all-time favorite artists and their music, but there’s a lot more I left out that I will get to one way or the other in other posts to come. Enjoy my list and let me know what you learned!

God Bless.

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com  

A transcending Yin and Yang slash chord:

          A transcending Yin and Yang slash chord: 

As you may already know, slash chords are a very important part of music and there are a variety of them. They are a pretty straight forward concept to grasp, you just play a chord in the right hand and then move only the bass while maintaining the right hand chord, for example: C/G or C over G, you would start the chord in C and then move the left hand, meaning the bass/left hand plays G and the right hand plays C. We have been listening to them and been influenced by them since the classical music era, which I like to think of as its true origin. From Mozart to our modern Pop culture, this chord has helped composers to make an easy transition from one chord to the next. I usually see this chord being used to go from the Tonic (I) to the fourth (IV), making a smooth transition. Of course, I like to jazz it up a notch and take this chord to a whole new level in sound and comfort. Let’s see the easiest transition first and then I will show you my way so that you can hear the difference better! We will start in the key of C and we will try to end up in F. The transition goes like this:

1-) Play a C Octave on the left hand, and C major 2^nd inversion on the right hand.(G + C + E)

 

2-) Now move the bass to E and keep the same C Major chord previously used on the right hand. (This is the famous slash chord.) – C (2^nd inversion)/E 

3-) Play an F octave on the left hand and an F Major chord on the right hand.    (F + A + C) 

Pretty easy concept right? Well, now let’s add some magical elements to awaken our inner spirits in a deeper way. We will use the same transition as above, only with added notes on the chords. Trust me, the difference is huge in sound! 

1-) Play a perfect fifth on the left hand starting on C (C+G), and on the right hand let’s play the same C Major chord (2^nd inversion) as seen in example one, only with the added 9^th or D this time.

 

2-) Now move the bass again towards E but add a minor 6^th interval or a C (E+C), on the right hand we will play a G Major chord in second inversion (D+G+B) – G(2^nd inversion)/E(add-6). 

Let’s examine more into detail what is going on harmonically here that is making this chord sound so different and so out of this world from the first simple example.

First of all we are almost playing an E minor 7^th chord on the right hand or a    G Major (2^nd inversion) chord as stated before, did you notice? And the reason why I say almost is because of the C (added minor 6^th) on the bass. This note alone is what is morphing a rather simple chord into a majestic beauty. On the left hand, we are really playing a C Major chord in 2^nd inversion (without the G). If we remove the C from the left hand maintaining the E note, and play the G Major second inversion chord on the right hand, then we have a sad but beautiful sounding E minor 7^th chord. Now add the C back again and the chord is hanging in the air. The combination and mysticism of two very different worlds combined into one, minor and major. This is power my friends, the real Yin and Yang of music unfolding in front of our very own eyes. 

3-) Finally play a minor triad starting on F on the left hand (F + Ab + C) and on the right hand play only two notes (Eb + G) – making this a what? Yes you guessed it, an F minor 9^th chord (MY FAVORITE). 

 

As you can see, harmonizing simple progressions into something a lot more rich and powerful is what music is all about. At the end it all comes down to our personal taste which is what makes us sound apart and original from others. Feel free to experiment some more by adding or subtracting notes from my example. Find your inner voice and let your heart shine through the notes for everyone to see! I hope you found this helpful!

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com  

The smoothest sounding Piano Chord ever!

The smoothest sounding Piano Chord ever!

Have you ever heard a specific chord that completely blows your mind? Or maybe a chord so delicate and deep, that when played at the right moment in a song it just makes your skin crawl with sensation? Well this is one of those chords!

The first time I discovered this chord was back in my elementary days of studying music on my own. I would sit for hours trying to learn popular music from the 80’s at my baby grand piano, while listening to the radio or a CD. I remember exactly the first time I heard this chord. It was while listening to Earth Wind and Fire’s magical song “Reasons”. This chord is used throughout this song in many ways and variations, but the one inversion I like to use the most is as follows. Are you ready?

Here we go:

Let’s start in the key of Bb (B Flat) to begin this tutorial.

1-) On the left hand play Bb (B flat) and Ab (A Flat), forming a minor 7^th interval. Like this: 

2-) On the right hand let’s play a major 7^th Ab (A flat) chord. (AbMaj7th)       

Starting on Ab (A flat) + C + Eb (E Flat) + G

Take your time and learn this chord in every single key, by simply moving each and every single note one half step up or down as you wish until you have covered every single key.

And there you have it, one of my favorite sounding chords ever and a real favorite to use in popular music. I use this chord in many more variations to substitute the 11^th chords. They are usually effective when trying to resume a specific chord progression like from the V to the I (tonic). But, you can use it as you wish!

Thank you for reading and feel free to comment with any questions or your own suggestions or variations of this magical chord.

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com  

The magic/power behind minor 9th chords:

The magic/power behind minor 9^th chords:

We all know that when it comes to choosing chords, the amount of keys we choose to play will make a huge difference in the final sounding chord. It will tell the listener a story about our personality, our musical taste and sensitivity. If you want to sound sophisticated and deep at the same time, then the minor 9^th chord is your best friend!

Natural minor chords are awesome don’t get me wrong, but there is such a mystical component added to the 9^th chords that it just sounds more complete and intriguing. I like to use natural minor chords as substitutes and combined chords, but we will discuss that another day.

Every time I include a minor chord in my compositions I make sure to add the 9^th to the chord, mainly because it classifies that specific passage with a golden stamp. Meaning, the chord adds more flavor to whatever it is happening on top of the chord, whether it is a solo or a specific harmony. Use this chord more often, and you will be able to open up a whole new world of possibilities in your composition.

The chord looks like this:

Let’s start on the key of D for this example:

1-) On the left hand I like to use a 5^th interval, like this: D + A

2-) On the right hand I love to use the minor 9^th chord as you already know!

Starting on F + A + C + E (9^th of the key we’re in.)

Listen to that perfect harmony and beautiful sounding chord. Every note adds a distinctive flavor to the chord that definitively adds a new dimension to your music.

Now try to learn this chord in every single key and try also removing one note from the right hand randomly so that you can see the difference it makes in harmony. I hope you have fun and implement this chord in your compositions and remember, just because it’s a minor chord it doesn’t mean it will bring sadness. Minor chords can bring joy as well, it all depends on the context in which you apply it!

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com  

II – V – I Killer progression substitution

II – V – I
Killer progression substitution

One of the most interesting and intriguing musical progressions I’ve studied is the II – V – I progression. From the outside it looks quite simple, but when we truly get down and dirty into details of its importance in any song, then we realize this is a must have progression in our music. I personally use this progression all the time, but I like to substitute some aspects of it as well as the chords I use.

From what I have experienced, this progression is one of the most exploited in music, because it provides the songwriter with a musical bridge to either come back to the original key of the song, or to change the key to go somewhere else. The next time you find yourself stuck while composing a song, make sure to use this progression randomly and see where it takes you, if it sounds too good to be true, then you’re on the money! But once again, ultimately have fun with this and go where your heart leads you, no matter if it’s a temporarily ugly place.

Usually this chord is used in the following form, let’s take the key of C to more clearly see what I’m talking about.

Let’s say you want to end up in C from an Eb major chord, thus play this chord first, then the obvious route if we follow the II – V – I progression would be to play a D minor chord; which would be consider the II in the progression (in reference to the C), then we play a G major chord; which would be the V in the progression, and finally we play a C major chord to end in the tonic or I in the progression.

Of course, this sounds too simple. Where is the magic, you may ask? Well, now that we have the skeleton of the progression covered, allow me to open the gates of Chord Heaven:

Remember, our starting point is Eb.

1-) On the left hand we’ll start with this specific hand position on the key of Eb

Eb + Bb + D

2-) On the right hand we’ll play an Eb major 9^th chord, like this:

G + Bb + D + F

This is what it looks like together:

3-) Now we  play on the left hand a D minor 7^th chord omitting the third (F), like this: (Mainly because the F makes the chord kind of muddy in my taste.)

D + A + C

4-) On the right hand we’ll play a delicious D minor 11^th chord, like this:

F + C + E + G

This is what it looks like together:

5-) Now are you still with me? I hope so. This where the magic happens so pay attention, instead of playing the V of the chord we’re trying to get to which is C, we will substitute the V which is G for C# or Db. Think of this as going down the stairs half a step, on the left hand play a diminished 5^th interval like this:

C# + G

6-) On the right hand we will play a G augmented chord, like this:

B + Eb (or D#) + G

This is what it looks like together:

7-) And to put the icing on the cake we will play the tonic with a spicy diminished 5^th added to it, C major 9^th with a diminished 5^th. On the left hand play a fifth interval with the third above the octave like this:

C + G + E

8-) On the right hand play C major 9^th with a diminished 5^th like this:

B + D + E + F#

This is what it looks like together:

So now we have come full circle, and as you can see there’s a huge difference between the first example with natural chords and the second one with the substitution and the added chord elements. This is in my opinion the beauty and complexity of jazz unfolded in front of our very eyes. I like to think of this essential elements as a necessary addition to any kind of popular music. But then again this is my personal opinion and if other people don’t think so then I respect their perspective because it is a good thing to think differently from other people, that is what makes us unique. Remember, music is supposed to be about bringing us together as humans not to divide us. Feel free to play around with these chords and add or subtract as many notes as you wish, or play it as it is, it’s up to you!

Peace, love and prosperity to all!

Carlos Camilo 

(Author)(pianist/singer/arranger/producer/composer from Miami,FL).

www.carloscamilo.com