Mental Practice Techniques: The Secret To Maximizing Your Jazz Piano Progress | how far i’ll go chords piano | #1 song chords

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Mental Practice Techniques: The Secret To Maximizing Your Jazz Piano Progress

Mental Practice Techniques: The Secret To Maximizing Your Jazz Piano Progress


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If I had to leave you with just one single secret to maximizing your progress for learning jazz improvisation and piano in general, it would be what we talk about in this tutorial. Mental practice is often overlooked, and there are so many different ways of practicing AWAY from the piano, or from your instrument. I went a full year without being able to play and somehow still made a ton of progress… maybe even more than I would have had I been practicing physically.

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Mental Practice Techniques: The Secret To Maximizing Your Jazz Piano Progress.

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30 thoughts on “Mental Practice Techniques: The Secret To Maximizing Your Jazz Piano Progress | how far i’ll go chords piano | #1 song chords”

  1. I'm amazed at the way you notated the 1st chord- if the chord is B major, shouldn't the notes agree with that root? you have the 3rd, as an E flat- is that not D sharp? the 13th, or 6th you have as A flat- is that not G sharp? I understood a B major chord to be spelled B-Dsharp-F sharp- mabye this is not a B chord after all? The 7th you have as B flat- wouldn't A sharp be the name?

  2. Thank you so much! This video came out at the perfect time for me! I broke my right hand just 2 weeks ago and won't be able to play with it for another month, so on top of catching up on my left hand, this is going to be super helpful.

  3. Do you have to listen to whole lot of bebob and jazz and transcribe bebop and other jazz musicians o be able to even imagine theses lines naturally in your head. Because i feel like you need to get really familiar with this Jazz language in order to be able to be good rhythmically and melody wise to do theses mental excercises.

  4. Have you heard of John Sarno MD? I used his approach to overcome chronic hand pain. The book to read is The Divided Mind. I was disabled for 9 months but was able to overcome it all completely.

  5. This is definitely one of the greatest lessons on this topic. I've been kind of doing something along those lines but now you've just motivated me to go further and do it on a regular basis. As a matter of fact I believe practicing hearing and improvising stuff in your head is the best way to spend one's time, since audiation is the most important for an improvising musician, or any musician really IMHO. Thank you so much!

  6. Could you share some of your experiences with the Nord stage and the grand piano you are using? Why you prefer the nord over an acoustic grand. We are a bit puzzled. Thanks.

  7. This is so cool, Noah. I’m always struggling with physical issues, and it’s kind of nice to hear I’m not the only one, although I hope you get it fixed up, whatever injury you have. Yesterday I saw a photo of Tom Waits putting point pressure on his elbow! These things have to happen I guess. What a great idea… practicing in your head ! 🤔

  8. This is great, and IMO whether or not you are really hearing it in your head is the true litmus test as to whether you are actually playing the language or not. I've met so many musicians over the years who appear to be playing very difficult/outside stuff, but I found it really difficult to follow what they are playing and keep me interested. I've come to realize that the biggest difference between those guys and people who are really nailing it is that the latter seem to have a very clear idea in their head of what they are trying to play aurally, while the former is just executing concepts they've learned, but what they are trying to do is detached from their ears… and the difference becomes really apparent especially in situations where you are supposed to play more melodic and inside, like playing ballads. It's almost like hearing someone reciting famous lines from a books/movies without really understanding what they mean.. you can come across as sounding "sophisticated" to some people, but those words may sound empty and superficial to those who are really paying attention.

  9. This is gold. No need to apologise for the process, it’s so helpful to know the difficulties involved and helps with realistic goal setting for someone who hasn’t tried an exercise like this before. My improv teacher at uni made us sing through the changes away from our instrument, moving no more than a step at a time to land on a chord tone/extension. It was such a helpful exercise and this is like the next level up from that.

    Always great Noah 🙂

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