The 2-5-1, possibly the most common harmonic device in all of jazz harmony. In this course we deconstruct and demystify the process of increasing your ability to improvise over it!This content is for members only.
Welcome to a new series of short burst videos that give you an intense amount of information in a short space of time keeping the subject matter to one simple key for your playing. Don’t forget to take it at your own pace, pause, rewind and TAKE YOUR TIME!This content is for members only.
The conditions here in Miami couldn’t be more drastically different in terms of humidity from the desert last week! And in response to a question in the comments section below a chord inversion lesson this lesson, and the next one I’ll post are all about chord inversions with the 7th in the root. Lots of great material to be had from this simple concept!This content is for members only.
I was listening to some Alan Holdsworth recently, I think it might have been the song Tokyo Dream, but it was definitely something around that era. I got hooked on some diminished sounds that Alan was using, and decided it was time to stop putting off learning about because it’s technically difficult, and find a solution to the problem! so here it is, a look inside my process for not only transcribing a specific piece of music, but also for tackling things that I can’t execute right away.This content is for members only.
This lesson looks at a Flat 6, Flat 7 to One cadence in the key of Bb, and I take a look at some ideas to help you be prepared for when you come across this pretty common cadence in your playing. From just understanding the various harmonic aspects of the sequence, to what melodic language you can use as a starting point for your improvisation.This content is for members only.
This is part two of the lesson that takes a look at this set of chord changes from an old Dave Sanborn song “Lotus Blossom”, and I show you some linear ideas for how to navigate through chord changes that are new to you.This content is for members only.
So if we take the ideas from a previous lesson on Minor and Major triad inversions we can start to produce some really cool ideas for our practice routines! Check out the compositional elements in these chord sequences and practice ideas.This content is for members only.
Simple inversions of minor chords can be so effective, and I’ve recently started working on creating chord sequences and arpeggiated lines by employing some simple harmonic techniques. In this lesson I take a minor chord in it’s three positions (root, 1st, and 2nd) and also a major chord which is the 5 of the key also in it’s three inversions.
You’ll notice my dyslexia kicking in in several places in this video. I was going to shoot the whole thing over again, but the actually playing and content was captured really well I thought so I recommend listening to the music and notes way more than my talking! It’s nothing major in terms of verbal mistakes, but there are a few places where I give the wrong names for a couple of chords. But the basis of all of these lessons is listening! and the more you can listen to these shapes and sounds and pick them up by ear the better!
Check out part two of this video when it’s released to see how I incorporate these ideas into my practice routine, and then develop them into compositions.This content is for members only.
Part two of this intro to sus chords covers some alternate functions for not only sus chords, but harmony in general. Ever wondered what some more resolution options were for conventional harmony? well we get to some cool ideas in this lesson!This content is for members only.
Thanks to a request in the forum for some more information on sus chords… this is the first in a two part series on the subject! Check out what makes up a sus chord, and how you might approach one when they crop up in the music you’re playing.This content is for members only.
I’m guessing I’m not the only one who comes across a situation where the harmony isn’t moving that much, so here is a lesson on how to make that harmony interesting, give yourself way more options to create melodies, and make it sound like there is actually more going on harmonically than there actually is…This content is for members only.
We’ve covered some basic entry level stuff when it comes to using paris of triads as melodic development tools. Now we take a look at a specific pair of triads over a V-I cadence. Tools for creating melodic ideas when resolving from a V chord to a I chord!This content is for members only.