Try this: Go to your instrument and play a C-major scale from top to bottom (C B A G F E D C). Play these as evenly spaced eighth notes in 4/4 time.
You will notice that the final note, the lower C, does not land on a solid beat (in this case, that would be beat one). Instead, it lands on the last eighth note of the previous measure.
Continue reading “Jazz Soloing Tip #12”
I have a micro-slideshow for you today, about “So What” chords. This one will be followed soon by Part Two. Then, I’ll be adding to these posts, more detail that is, which I do a lot with already posted stuff.
After these quick slides, you might like these two video posts by me, on “Fourth Chords,” which are closely related to “So What” chords:
Here’s those slides…
Continue reading “Here’s a little bit about “So What” chords”
A Powerful Tip for Blues, Jazz, and Rock Improvisers
This is a slide show, which is a common format that I use on my Instagram channel.
I have discovered that these types of posts are very popular on my Instagram page, so I’m going to start featuring these here, too!
Continue reading “Jazz/Rock/Blues Soloing Tip: Using the ‘Rock-Bottom Four’ of the Blues Scale”
Welcome Back to a Study in Blues Piano!
Blues Study Lick #6, “Locked Up”
This is a really exciting technique for what I like to call the “Big Blues” sound. By “Big Blues,” I mean dramatic, exciting, full, like you might hear from a jazz big band. This kind of lick also works great for building to a climax in your “blues story” (a good solo usually tells a story).
The name of this lick, “Locked Up,” ain’t necessarily because what you’re saying with your fingers might be a story about going to jail. In this video, “Locked up” actually refers to the core idea of the lesson, something called “locked rhythm.”
Continue reading “Blues Lick #6: “Locked up””
I recently received a question today (on my YouTube channel), an excellent one, the topic of which is subject to debate. The question is in response to one of my videos about using add9 chords on piano. (A link to the video is included below.)
I thought I would share the thread here:
“Type B” Rootless Chord Voicings for Piano
“Rootless voicings” on piano (especially for left-hand support) are great for handling big jazz chords that normally can’t be covered by one hand alone. This video tutorial shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root. Continue reading “Chord Voicings for Jazz Piano (Rootless, Left-Hand, Type B)”
Lesson #8 (video)
In this lesson, we master a couple of specific blues piano tricks of the trade. I’m using the word specific here, because we’re going to use these devices with a goal in mind, a musical effect that is pretty specific.
The “tricks” in this video are focused on emulating those sounds of blues singers and other instruments who can bend their notes (slide or play between pitches). You’ll learn about “blue notes,” and also pick up a blues-boogie playing technique called the slide-off.
Continue reading “Blues Piano Crash Course #8: Blue Notes & Pitch-Bending”
The following post is not just for jazz players!
It seems to me that contemporary modal improv, which had its jazz birth in the late 1950’s, was a huge influence on the increasingly improvisational rock of the 1960’s, (even when players might not have consciously realized it!), and has never stopped being at the heart of so many great pop/rock/jazz solos until this very day.
This is a brief introduction to the idea of “modal jazz.” We’re going to look at probably the most famous example of modal jazz, a tune called “So What,” by Miles Davis and Bill Evans.
We’re looking at this piece because (1) it was part of a ground-breaking approach to jazz improvisation and composition when it came out, and it’s still definitive of the modal jazz genre (maybe the definitive recording?) (2) because “So What” is the best-known track on one of top-selling jazz albums of all time, “Kind of Blue.”
Continue reading “How to improvise in modal jazz: “So What” by Miles Davis”
“Type A” Rootless Chord Voicings for Piano
“Rootless voicings” on piano (especially for left-hand support) are great for handling big jazz chords that normally can’t be covered by one hand alone. This video tutorial shows you how to play a rich sounding II-V-I in the left hand, while allowing the bass player (or you, on another beat) to cover the root.
Continue reading “Chord Voicings for Jazz Piano (rootless, left-hand, Type A)”