Feb 16 2013

-Lesson 70: Augmented Melody

In this lesson we look at a short melody derived from the classical augmented scale ( 1, b3, 3, 5, b6, 7, 1 ) and play it in triplets grouped in 7.  The melody could work in several harmonic contexts but we’ll just look at it in the context of concert A major 7 (#9 b13).  Many improvisers use this scale in it’s various modes to improvise over major, minor and dominant chords.  Bela Bartok

The melody is played in a symmetrical sequence ascending by  minor 6ths yet all the notes are contained in one scale.  This scale, like the diminished scale or the whole tone scale is symmetrical and so 1 scale applies to 3 keys each a major 3rd apart (tri-tonic).  Therefore there are a total of 4 scales each one representing 3 keys.  You can think of the scale as compared to the major scale ( 1, b3, 3, 5, b6, 7, 1 ) or as two augmented triads one half step apart i.e. A+ and G#+ creating the scale covering the keys of A, C# and F.  This is the same scale used in Lesson 7 where the major 7 #5 chords found in the scale are used within a dominant 7 context.  Also, Lesson 56, on Giant Steps uses this scale in the first 8 bars over the tri-tonic progression.

In the video we’ll fist practice the rhythm of the triplets grouped in 7 over 2 bars of 4/4 time with the metronome – just singing.  Than we’ll play the melody slowly rubato over a drone, next with the drone and the  metronome and lastly with a bass and drums play along track at 120 bpm.  If you’re interested in the drum and bass backing track, it is available here at CD Baby for 99 cents.

After you’re comfortable with the melody try improvising from the scale and perhaps find the different triads and 7th chords found in the scale.  You could also play the melody starting on the 1st, 2nd or 3rd triplet of beat 1, 2, 3, or  4 in order to help hear the phrase in a different location in the harmonic rhythm.

~ Enjoy!

~Click Here To Make A Donation. Thank You!~!

~Buy The Bass and Drums Play Along CD~

 

Lesson 70: Aug Melody PDF

 

 

~Click Here To Make A Donation. Thank You!~!

~Buy The Bass and Drums Play Along CD~

Lesson 70: Augmented Melody


Oct 24 2012

Lesson 63: Nat 9 ~ Flat 9

In lesson 63 we look at a simple melody that uses both the natural 9 (the #11) and the b9 on a dominant 7th chord.  Within the first bar of this melody a major triad a whole step above the root is present.  Somtimes this is refered to as an upper structure triad since it outlines some of the notes above the root, 3rd, 5th and 7th of the chord (in this case the 13th, the 9th, and the #11th).

The resolution melody in bar 2 does not contain a 3rd or a 7th so you could conceivably play this idea over a major, minor or dominant 7th chord.  It can be interesting to improvise over a chord using just the root, 5th, 9th and 13th – creating a nice open sound (you can hear this concept used by many great improvisers such as Art Tatum, Monk, and Dexter Gordon).

There is a play along mp3 below to help you hear the harmonic context of the melody and also a “sing along” mp3 with the melody for ear training, singers, or those suffering from RSI or carpal tunnel syndrome.  In the video I first play the resolution melody (5, 13, 9, 13, 5, 9) in the second bar of the play along through the keys.  Next I play just the V7 melody resolving just to the 5th of the resolution chord through the keys and lastly I play the whole melody through the keys.

 

~Enjoy!

 

Lesson 63: nat 9 – b9  PDF

 

Lesson 63: Sing Along 80 BPM

Lesson 63: Sing Along 140 BPM

Lesson 63: Play along 80 BPM

Lesson 63: Play along 140 BPM

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

 

 

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

 


Jul 29 2012

Lesson 61: “Drop 2″ Voicing

While working on major 7th and minor 7th “drop 2″ chord voicings, I found a nice  shape to work on through the keys.   Drop 2 is a great way to voice chords and has been used in classical and jazz music for hundreds of years.  Several of Mick Goodricks books really get into the drop 2 voicing in depth while this short exercise just looks at one simple major and minor voicing in isolation.  Arpeggiating voicings on a single note instrument can be  interesting and challenging and will help you incorporate intervallic melodies to contrast traditional linear ideas. One nice thing about working with a chord voicing is that,  no matter what order you play the notes in, a strong melody ensues.

~Enjoy!

Lesson 61: Drop 2 Voicing PDF

Lesson 61: Drop 2 Voicing mp3 sing along

Lesson 61: Drop 2 Voicing backing track

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

 

 


Jun 11 2012

-Lesson 60: Diatonic Sequence

This lesson covers a great melody from  one of the Bach Cello suites which has been extended slightly to cover the whole major scale.

The sequence outlines the main seven chords found in the major scale (in the key of C: Fmaj, B-7b5, E-7, A-7, D-7, G7, Cmaj); the root motion moves in diatonic fourths.  I’ve found this exercise to be very melodic and yet strangely challenging to memorise and play technically.

To expand on this meldoy, try playing the material in smaller phrases, perhaps just outlining one or two of the chords.  Also, changing the rhythm in a variety of ways should help the material become a more creative part of your vocabulary.

~ Enjoy!

Lesson 60: Diatonic Sequence PDF

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

.

.

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~


Jun 10 2012

-Lesson 59: Spread Tri-tone

 

I thought it might be nice to work with a variation on Lesson 1 (Spread Triads) – In this exercise we play spread major triads a tri-tone apart, a sound which will work nicely over a dominant 7th chord with with a b9 and a #11 (or as a substitution).

This is one simple way to begin hearing larger intervals and shapes while still maintaining melodic and harmonic integrity.  I like to work on the material  slowly with a metronome while trying to sing and memorize each interval right from the start.  This helps to internalise the new material quickly and exercise your analytical mind.  By singing melody slowly over a drone in a key that fits the range of your voice the larger intervals will become easier to hear and to incorporate into your improvisation.

There is a PDF and video of me playing the lesson below.  The melody is played through the 12 keys starting on Concert C7.

~Enjoy!

Lesson 59: Spread Triads in Tri-tones PDF

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~


Mar 6 2012

Skype Lessons

I’ve started doing Skype Lesson formally.   Having taught many Skype lessons over the last few years, I’ve come to believe that Skype is a good way to both teach and learn from the comfort of your own home.  I charge 40$ for one a one hour lesson, and interested folks who are at an intermediate or advanced level can email me to set up a lesson at: ottojazz@gmail.com.

During a Skype lesson I will listen to you play/improvise for a duration and determine a course of study based on what I hear.

Some of my common teaching methods include:

  • Singing and visualising melodies and harmonies over drones.
  • Playing ideas through keys.
  •  Memorising tunes and chord progressions.
  • Displacing melodies rhythmically.
  • Working with a metronome.
  • Singing and playing scales, ideas, melodies, voicings, arpeggios, and  solos.
  • Transcribing, singing, memorising and playing solos through keys.
  • Diatonic harmony.
  • Analysis of standard progressions and songs.
  • Chord-scale theory.
  • Synthetic scale analysis and application in improvisation and composition.
  • Long tones.
  • Overtones.
  • Diaphragmatic Breathing.
  • Establishing an effective daily routine.
  • Writting contra-facts.
  • Compositon.
  • Interval recognition.
  • Harmonic recognition.
  • Singing and playing over progressions and songs.
  • Learning to play by ear.
  • Working on rhythmic feel.
  • Developing a vocabulary.
  • Working towards performance and recording.

I’m also willing to work on specific personal goals and/or problems that an individual may have.

I’m happy to work with people who play any instrument.

Best,

Matt Otto

Reviews:

“Matt Otto is a gifted teacher and a warm-hearted person. I’ve been fortunate enough to study with him and have applied his
teachings to many facets of music-making, from sound production and ear training to improv and composition. I can’t recommend him
highly enough. He’s approachable, friendly, and has a casual way of making difficult concepts easy. His methods and philosophy
are geared toward developing the whole musician and guiding the student in finding their musical “voice”, which has been a joy
to experience first-hand! He’s been a great mentor and I would recommend him to any musician interested in improving the quality
of their playing in a way that is true to the self.”

~Peter Gilli – tenor sax, Rhode Island

.
I have been studying with Matt for over six months now. With his guidance, I’ve been able to move past several musical obstacles allowing me to set new goals as an artist and saxophonist. The bar has been raised, so to speak. His teaching effortlessly encourages growth within the idiom of jazz improvisation, while still maintaining clear awareness of the student as an artist in their own right. Simply put, my lessons with Matt have allowed me to deepen my relationship with music directly.

~Jason Moore – tenor sax, North Carolina www.jasonjmoore.com

.

“I studied with Matt Otto from 2000 to 2006 and during that time, Matt was a true mentor.  In those years of study, I developed an understanding of elemental aspects of sound, rhythm, and musicality that I felt ownership of.  Matt stressed the importance of developing a personal and instinctive command of the instrument, and I credit his teaching style for enabling me to mature from student to artist.  Beyond teaching, Matt  produced and engineered a recording of mine, which helped me win a competitive artist’s grant from UC Berkeley — the funding from this grant payed for my travels and first year expenses moving from California to New York City where I live today.  Learning from Matt and being influenced by him has been a great gift that continues to be a part of who I am both musically and personally.”

~Kenneth Auyeung – Alto Sax, Brooklyn, NYC.

 

“Studying with Matt is the best. He really taught me how to sing through my instrument, which completely transformed my approach to music.”

~Ryan Seward – Guitar, Los Angeles, CA.

 

.
“After years of going around in circles in my practice, lessons with Matt finally got me to break through the blocks and rise above the plateaus. His positive, encouraging approach to ear training and teaching jazz improvisation have given me the tools and confidence necessary for any measure of success I’ve reached. In short, Matt has basically taught me everything I know.”

~ Josh Welchez – Trumpet, Los Angeles, CA.

 

“I have only two regrets about taking lessons with Matt Otto. 1. That when my friends recommended I take lessons with Matt, I had done it sooner and 2. That I didn’t take more advantage of him when he lived in town. Matt is easily the best teacher I’ve ever had regardless of instrument. I’ve never seen anyone with a more clear approach and was so quickly able to get to the my weaknesses. Another one of Matt’s strengths was giving you a way to work on those issues that were really easy to implement. I don’t think I could have asked for more from a teacher.
 With Matt’s help I was able to accepted to the Master’s degree program at Cal Arts for Jazz Studies, a feat which I never could have done without his guidance. For that I’ll always be indebted to him.” (and Sallie Mae).
.
~ Scott Cummings – Drums, Los Angeles, CA.
.

“I recently started playing saxophone again after a 10 year break.  However I was dissatisfied, as many of the issues that bothered me about my playing years ago, where still present such as:  solo’s that lacked thematic direction and did not ‘tell a story’, an over-reliance on ‘hot licks’ and a disconnect between my fingers and ears’ .  I decided I needed to get some help If I was going to make any progress.  After reading Matt’s blog and hearing him play I started taking lesson’s earlier this year and it has led to massive changes in my approach to improvisation and level of musicality.

Here are some of the things we worked on:  Slow motion improvisation and using thematic development.  Learning tunes inside out by singing the melody and bass, voice leading, shell & drop 2 voicing’s.  Technical problems with air support and tonguing.  The modes and chords of the Harmonic and Melodic minor scales.  Getting a stronger time feel by using the metronome on the offbeat’s and singing along with Bird solo’s.  Transcribing what I sing in order to strengthen the connection from ear to instrument.  With Matt’s help I finally feel that I am starting to ‘Play what I hear and sing thru the horn’ and I am very happy that I chose Matt for Skype lessons as he is a fantastic teacher, musician and a genuinely nice guy.”

~Robert Gillespi – tenor sax , Edinburgh, Scotland

 

I had the honor of taking lessons with Matt Otto for an extended period of time beginning in 2008. In addition to being one of my favorite musicians on the planet, Matt is among greatest teachers I have ever had. His approach to learning is focused on the student developing his/her own unique individual voice. He made me aware of how to be honest in my playing. Many of the exercises we did involved singing over a drone (Example: Charlie Parker head). Often I would sing over the drone and transcribe what I sang. This opened up my ear immensely and is one of the best ear training concepts I have learned. I began realizing that the instrument is just an extension of my voice and we worked towards bringing out what I really hearing. Matt knows the balance of being positive and encouraging, yet challenging and demanding. I always left our lessons motivated and excited. Matt is a treasure to the jazz community.

~ Dr. Brandon Bernstein – Guitar, Los Angeles, CA.

 

 

“Matt Otto has been an incredible mentor and teacher who’s passion for the music and articulate way of teaching has not only changed the way I play, but also the way I listen and experience music as well.”

~Blake Deibal – Tenor Sax, Kansas City, MO.

 

“I have studied with Matt Otto and utilized the resources of his music blog for several years.  In my case, as with his other students, he carefully analyzed my level of playing and developed an action plan for improving both my technical skill and my understanding of jazz improvisation and underlying harmonic structure. In addition to his vast knowledge of music and technical expertise, Matt has a very generous spirit that inspires his students to put in the work necessary to reach their individual goals. For players of all levels who wish to improve their jazz improvisation skills, I highly recommend studying with Matt.”

~Frank Martinez – Tenor Saxophone, Pico Rivera, CA.

 

“Matt Otto played a huge role in helping me understand and feel comfortable with jazz harmony and improvisation.  He broke things down in a way that made sense to me as a singer and a musician. I’m grateful to have had him as a teacher!”

~Sara Gazarek – Vocalist, Los Angeles, CA.

 

“I was drawn to Matt as a teacher because of my love for his music.  I sought him out, hopeful that his teaching would match the depth of his music.  I was not disappointed.   My lessons with Matt have been musically transformational.  In my experience, he is a rare breed.  His ability to get right at the heart of a musician’s strengths and weaknesses is truly amazing.  He was able to quickly match up my goals with a plan to overcome my weaknesses, in some cases using ‘outside the box’ methods to deal with my stubborness.  He is an incredibly patient and generous person which translates into how he deals with his students.  You could not ask for a better mentor on your musical journey.”

~Jeff Stocks – Guitar, Kansas City, MO.

 

“Studying with Matt has been a truly eye opening experience for me.  Within minutes of our first lesson, he recognized the holes in my playing and set out a concrete plan on addressing them; the time I have spent studying with him has been the most rewarding and fruitful of my learning career.  The lessons posted on his blog have given me enough material for me to work on for years to come.  I cannot recommend Matt’s teaching abilities enough! Not to mention, he’s a pretty cool guy.”

~Miles Freeman – Tenor Saxophone, Los Angeles, CA.

 

 


Jun 5 2011

Lesson 43: Diminished Line

Here’s an intervallic diminished sequence I wrote when I was in Leipzig on a short avante-guard tour in the late 90′s.  We had many long days of doing nothing before the sound check and gig so I wrote this melody and put it through the keys to keep myself occupied and out of the bars.  The use of spread triads within the line helps creates a nice intervallic shape.

The melody is played  3 times in each key, each time it is displaced by one triplet (i.e. on the first, second and 3rd triplet of beat one of the bar). The melody is than played through the keys around the circle of 4ths.

I really enjoyed learning  several of  the great diminshed sequences from the Nicolas Slonimsky book; mainly the ones that Coltrance made popular on recordings like Blue Trane.  After that I really wanted to try and come up with a few of my own ideas and build off what I had learned, this melody was one that stuck over the years.

~Enjoy!

Intervallic Diminished Sequence PDF

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

 


.

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~


Jun 5 2011

Lesson 41: Shell + Tension

Oftentimes as a single note improviser it is difficult to contextualise individual or groups of harmonic tensions by ear. That is, when playing just an A natural, for example,  it sometimes challenging to hear that note as say, a 13th on a major chord or a sharp nine on a dominant 7th chord.  This harmonic context is often something drive single note players to the piano (which is a good thing). Guitar players, piano players and other polyphonic instrumentalist can play a shell voicing or an entire chord in one hand and an upper-structure tension, group of tensions or entire melody in the other, giving them the complete harmonic or contextualised sound any harmonically ambiguous musical idea.

Over the years I’ve used a simple tool that can really aid a single note player in creating a harmonic context without a piano or chordal instrumen which is often not available. Simply by arpeggiating the shell voicing (root, 3rd and 7th of a chord) first and than playing a tension, group of tensions or entire melodic phrase.

In this lesson we just deal with one arpeggiated shell voicing (the dominant 7th) and 2 upper-structure tensions (the 13th and b13th).
To expand upon this concept, simply play any shell voicing (the root 3rd, and 7th of any major, minor dominant diminished etc) fallowed by any tension, group of tensions or entire melody.  This will help give harmonic context to whatever your working on.

Although I’m no Art Tatum, I’ve found that, over time, my ear has improved at identifying tensions and becoming a bit more aware of the polyphonic, harmonically rich world of piano and guitar players.

Enjoy!

Shell Voicing with 13 and b13 PDF

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

.

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~


Jun 3 2011

Lesson 24: Major Melody

This is a very simple melody that clearly outlines the major 7 sound (with a passing natural 11). First sing the melody in one key to get familiar with the sound and help internalize the phrase.

Once it’s easy to sing it in tune begin playing it through the keys on your instrument. Remember to stay relaxed, listen and feel the underlying pulse.

For variations try playing the melody in triplets or displacing the melody by and eighth note. Of course flatting the 7th and/or 3rd can transform the melody to dominant or minor.

-Enjoy!

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~

 

 

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

~Purchase my book: Modern Jazz Vocabulary Vol. 2~


Oct 21 2010

Modern Jazz Vocabulary Vol.2

The second volume of Modern Jazz Vocabulary is finally done.  I made some changes in the books format based on a lot of the feedback I got from people about vol. 1.  This book is bigger in size but should still fit in a sax or guitar case, about 7.5 inches by 7.5 inches and is spiral bound so it will stay open on your stand better.  There are 288 II-V-I melodies in the book and all the lines are different in every key so you could put them through all the keys and have a ton of material to work on.

Modern Jazz Vocabulary Vol. 2
Is an in depth study of the classic II-V-I progression found commonly in jazz improvisation.

The nearly 300 melodic examples incorporate rhythmic groupings, triad pairs, enclosures, chromatics, synthetic scales, chord substitutions and more.

“In this second volume of Modern Jazz Vocabulary, Matt Otto presents a wide
range of how to play over the
II-V-I progression. …A very direct and clear approach utilizing
vocabulary from several different eras of jazz, as well as accentuating the
importance of presenting examples from seemingly simple to more complex.”

~Steve Cardenas
Guitarist with:
Charlie Haden, Norah Jones, Paul Motian,
Joey Baron, Mark Johnson, John Patitucci, Ben Allison.

” A thoughtful and refreshing revisit to the II-V-I. Matt Otto has an eclectic personal style and he has added his creative sensibilities to an often cliched topic. I can definitely use his book for myself and my students”

~Bob Sheppard
Saxophonist with:
Freddie Hubbard, Steely Dan, Chick Corea, Sting,James Taylor, Nat Adderly, Joni Michell, Horace Silver.
Billy Childs, Lyle Mays, Natalie Cole, Mike Stern, Al Foster.

 

Here’s a review of the book from Casa Valdez Studios:

Saxophonist/educator Matt Otto has just released Vol. II of his Modern Jazz Vocabulary series. The first volume dealt with modes of the Harmonic Major Scale, which I personally got a lot of new great ideas from working out of. Vol. II consists entirely of ii- V7s. There are several pages of phrases in each and every key. There are are ton of other ii- V7 books out there and I can honestly say that Otto’s new book blows them all away. What makes Otto’s book better, you ask? The lines are actually hip, in stark contrast to the embarrassingly stale and corny patterns that take up a majority of space in most other ii-V7 books.

Otto uses many different modern harmonic and melodic devices in his book and the resulting lines are highly sophisticated and unique sounding. Matt’s personal style is reflected clearly in this book, which is a good thing because Otto sounds somewhat like a cross between Warne Marsh, George Garzone and Stan Getz. His lines are highly melodic and lyrical while still sounding like cutting edge Post-Bop. I think if I only had one adjective to describe the lines in this book it would be snakey, and I like snakey lines a lot. Actually there are a number of straight-ahead Be-Boppy sounding lines in there as well and when you come across one it’s kind of surprising after playing so much super hipness.

Pattern books are good for giving you new ideas to incorporate into your own playing. As long as you make an attempt to make the lines your own rather than learning them by rote I think they are a highly effective way to expand your vocabulary. Your source material matters however and if you start with lame patterns you’ll end up with a lame vocabulary, even if you put your own slant on the lame patterns. What do they say about turd polishing again? Anyway, you’ll find Matt Otto’s Modern Jazz Vocabulary Vol. II on my music stand for a while.


Aug 16 2010

Lesson 36: ii-V-i Harmonic (2)

This exercise is a (second) example of using a harmonic minor scale to create a melody over a minor ii-V-i progression.  To do this we use the harmonic minor scale of the i chord. For example in a D-7b5 (ii), G7b9,b13 (V7) and C-maj7(i) progression, a C harmonic minor scale is used throughout.

If you examine the modes of harmonic minor you’ll see that the 2nd mode outlines the -7b5 7th chord and that the 5th mode outlines a dominant 7 with a b9.

Often times dogmatic music pedagogy tells us the b9 on a -7b5 chord is an ‘avoid note’ or that a natural 11 over a dominant 7th chord is an ‘avoid note’.  Although these notes sound mildly dissonant when sustained in a vertical harmonic structure, they are quiet melodic when used in a linear, or horizontal context.   both these notes and the harmonic minor scale in general is used frequently in both baroque music (Bach) and bebop (Sonny Stitt, Bud Powell etc…).

This melody is played around the circle of fourths starting in concert C minor.

~Enjoy!

~Click Here To Make A Donation. Thank You!~!

~Purchase my book: Modern Jazz Vocabulary Vol. 1~

Lesson 36 PDF