2-5-1’s Part 4

The 2-5-1, possibly the most common harmonic device in all of jazz harmony. I this course we deconstruct and demystify the process of increasing your ability to improvise over it!

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2-5-1’s Part 3

The 2-5-1, possibly the most common harmonic device in all of jazz harmony. I this course we deconstruct and demystify the process of increasing your ability to improvise over it!

This content is for members only.

2-5-1’s Part 1

The 2-5-1, possibly the most common harmonic device in all of jazz harmony. I this course we deconstruct and demystify the process of increasing your ability to improvise over it!

This content is for members only.

Using Pentatonics to create and release tension

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!

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Steve Grossman Transcription Zulu Stomp – part 1

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.

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Vocabulary – Holdsworth Diminished Sound

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.

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Soloing Idea using Major Triads – Part 1

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!

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Communication – Practicing with another musician

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.

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Playing Over A Vamp

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…

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Phrasing – Michael Brecker

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.

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1-5-10 Ideas

I had a question recently asking about a device I use quite often in my playing. It utilizes the root, 5th, and tenth for the most part, and can be used for comping, composing, and soloing in a variety of ways. In this lesson I I break it all down and show you some musical examples and applications for this technique.

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String Crossing Pattern

Here’s an idea that my guitar player Tim Miller showed me several years ago. It’s a grouping of nine notes that has you moving across the entire fretboard, and it’s something that’s great for creating tension. The most important part of this one for me is how delicately you choose to use it… it’s very easy once you have it under your fingers to just go shredding up and down the neck, but that probably won’t produce the most musical results. Pay close attention to what I’m saying in the video about target melody notes and how to frame the idea with other music.

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