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.
Hello gang! This week I’m coming to you from the dry heat of the California desert out in Rancho Mirage. I got some down time to practice in the hotel room and shoot this video for you taking a look at a bunch of different things. This video includes looking at how a change in climate effects your playing (such as a the super dry air of the desert where I am right now) and also about how to create melodic ideas using a simple minor pentatonic scale.This content is for members only.
Taking one of the most basic harmonic/melodic devices – a minor pentatonic scale – this lesson takes a look at creating and releasing tension, creating new melodic ideas, and making sure you’re setting realistic goals and not trying to learn too much in one go!This content is for members only.
So what started out as a lesson about where to find ideas for building vocabulary, this lesson ended up being about the small details within phrasing that can take you to the next level in terms of your ability to be in total creative control with your playing.
I take a three note phrase, and then break it up into tiny pieces (YES that’s totally possible!) and give you a bunch of phrasing options that I think are going to take your playing to the next level!This content is for members only.
When it comes to playing outside the changes one of my favorite guys is Steve Grossman. A legend in his own right with an incredibly unique sound and approach to music, I’ve been transcribing him for years. This cut is from the Some Shapes to Come album, and features Gene Perla on Bass, Don Alias on drums, and Jan Hammer on keys.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.
I recently blogged about this Australian piano player Rai Thistlethwayte who’s side project “Michael Albatross” has been on heavy rotation on my record player for many weeks now. There’s a great piano solo from the track in the blog post that has a very cool major triad idea in it. Needless to say I transcribed it and now present it to you as a starting point for working on a soloing idea using Major Triads!This content is for members only.
Here’s an ideal way to give yourself more fluidity soloing over bass chords (which I suggest you put into a looper to give yourself a killer backing track to work with) with chord tones over a ii-v-i with this idea from Michael Brecker. I heard this on a bootleg of a clinic he was giving in the 80’s in Italy, and thought it would make for some great material to add to my practice routine. I hope you can incorporate it in yours, and using bass chords, and these chord tones, you should be able to increase fluidity in no time! This content is for members only.
Jamming with other musicians is something that’s been at the forefront of my musical development. And from time to time I get to hang out with close friends who are also incredible musicians and swap ideas. I was down in Texas with my good friend Justin Vasquez working on a project and we decided to shed a little at the house one day. I rolled tape so you get a look inside that process. We’re trading back and forth over a groove I have in the looper, and playing off each others phrasing and ideas.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.
To me Michael Brecker was one of the true masters of phrasing and time. In this lesson I take a look at a specific phrase from Mike’s solo on “Bye George” from the album “Two Blocks from the Edge”, and work on ways of taking a single phrase out of a transcription and working it into your playing.This content is for members only.