Jan 17 2013

Lesson 68: -7b5 nat 9 nat 13

This is a simple melody that uses the 2nd mode of harmonic major over a -7b5 chord (or half diminished) in one key (concert F#-7b5) which is concert E harmonic major, the 2nd mode being concert F#-7b5(nat9, nat13).

This 2nd mode of harmonic major creates an interesting “bright” sound over half diminished; natural 9 and natural 13. Harmonic Major

The more common locrian mode of the major scale gives you a b9 and b13 on a -7b5 and the popular 6 mode of melodic minor will give you a natural 9 and a b13 over a -7b5.

The 2nd mode of harmonic minor over -7b5 will give you the b9 and the natural 13.

All 4 scales will work nicely over a half diminished chord but this melody just focuses on using the natural 9 and natural 13 sound (2nd mode of harmonic major).

Here’s a simple chart that should help make it clear:

 

F#-7b5 (b9,b13) = F# locian (G maj scale 7th mode) F#, G, A, B, C, D, E, F#
F#-7b5(nat9,b13) = 6 mode of A melodic min F#, G#, A, B, C, D, E, F#
F#-7b5(b9, nat13) = 2nd mode of E harmonic min F#, G, A, B, C, D#, E, F#
F#-7b5(nat9,nat13) = 2nd mode of E harmonic maj F#, G#, A, B, C, D#, E, F#

The intro and outro clips in the video are short improvisations using this 2nd mode of harmonic major i.e. concert E harmonic major, 2nd mode = F#-7b5(nat9, nat13).

The short melody in the lesson uses a grouping of 7/8 over 4/4 and is a sequential melody descending by diatonic 3rds through the mode (cycle 6 in Mick Goodrick’s system).

Try singing the melody over a drone or the F#-7b5 chord until it feels comfortable than play idea on your instrument.  After try improvising freely with the mode.

For more an introduction on the use of the 7 modes of harmonic major, you can pick up my book on the topic here.

~Enjoy!

Lesson 68: -7b5(nat 9,nat 13) PDF

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Jan 15 2013

Lesson 67: min triad add 9

This ii-7, V7, I melody that uses minor triads with an added 9th (or 2nd) i.e. 1,3,5,9 or 1,9,3,5 etc…Stefon_Harris

The first part of the melody uses a minor triad with the added 9 over the ii chord (D-7 would use a d minor triad with the 9th “E” added).  The second part of the melody uses the minor triad with an added 9th one half step above the root (G7 would use an Ab minor triad with the 9th “Bb” added) or a tritone away from the first triad.   This triad with added 9 over the dominant produces an “altered” sound giving you b9, #9, 3 and #5 on the dominant and comes from the 7 mode of melodic minor or altered scale).  The line resolves to the 5th of the I chord…  Try singing the line slowly at the piano to learn to hear it well before playing it on your primary instrument.

My friend Miles mentioned to me that Stefon Harris refers these triads with any single added note as “quadrads”.  A quadrad can basically be thought of as a 4 note scale.

Once you’ve worked on this simple melody through the keys try improvising using the 4 note “quadrads” over the same ii – V – I progression.  Last, try to use the quadrads over a standard or original you enjoy improvising on.  This should help the new sound eventually become part of what you hear.

~Enjoy!

Lesson 67: minor triad add 9 PDF

Lesson 67 Play along

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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

 

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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

 

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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

 

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Mar 15 2012

-Lesson 56: Giant Steps Etude

This is a short, 1 chorus etude over John Coltrane’s Giant Steps progression.  It incorporates a few different conceptual ideas which I find useful.

In bars 1-2 and bars 5-6 what is sometimes referred to as a “classical augmented” scale (see PDF below) is used to create a simple descending linear melody. Since one scale works in 3 keys, a major 3rd apart, it is a good fit over Coltrane’s tri-tonic progression.

In bars 3-4 and bars 7-8 I use a simple pentatonic idea modulated and grouped in 5 eight-notes to create a slight rhythmic displacement.

The rest of the line is a series of fairy inside ii – V7 – I melodies.

~ Enjoy!

 

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Lesson 56: Giant Steps Etude PDF in C

Lesson 56: Giant Steps Etude PDF in Bb

Lesson 56: Giant Steps Etude PDF in Eb

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Mar 14 2012

-Lesson 55: ii – V7#5 -i dim

I’ve always found it effective to work on a specific melody in order to incorporate a general concept into my playing.  For instance, when learning to use the #5 on the dominant 7th or i diminished as a substitute for I major 7, a short melody that does this clearly can come in handy as a learning tool.  Once it is memorized, internalized, and “heard” it becomes much easier to improvise using the underlying structure conceptually (harmonically) and not as a literal “lick” or “pattern”.

This melody outlines the #5 on the dominant 7th and substitutes i diminished ( w a major 7 and a major 9) for the I major 7th chord.

The line is played around the circle of 4ths starting in concert C major (D-7, G7#5, C dim).  Remember – you can “substitute” i diminished for I major when you want to – you will begin to “hear” it and be able to incorporate it into your playing by ear, more naturally, without having to play it so deliberately.

~ Enjoy!

 

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Lesson 55 ii V7 i dim PDF

 

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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

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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

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“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.

 

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“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).
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~ Scott Cummings – Drums, Los Angeles, CA.
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“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.

 

 


Sep 20 2011

Lesson 51: Maj 7 #5 melody

Finding melodies on a single note instrument that really bring out the sound of  more complex types of harmony is often a challenge.  Here’s a Major 7 #5 melody I found the other day while doing some slow improvisation.  It’s played in triplets starting on beat one for the bar. 

 

Like many of the other material on the blog, I’d reccomend playing it displaced by one or two triplets as well and perhaps in 8th notes.

 

If you have the patience and/or carpal tunnel/RSI problems try singing the line with the mp3 below while visualising the fingerings.  Using this method, you can practice a long time with no injury or fatigue plus it’s really much better ear training.

 

~ Enjoy!

 

Major 7 #5 Melody PDF

Major 7 #5 Melody Mp3

 

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Sep 19 2011

Lesson 50: Wide Intervals

Here’s an easy way to begin to introduce some wider intervals into your improvisation while still maintaining melodic and harmonic integrity.  This exercise uses a dominant 7th chord, and also includes it’s upperstructure tensions (9, #11, and 13).

The melody starts on the 13, leaps down a major 7th to the b7, up a #5 interval to the #11, down a major 7th to the 5th, up a perfect 5th to the 9th, down a b7 to the major 3rd, up a tri-tone to the b7 and lastly down to the root.

Sounds a bit complicated in words but it actually sounds much simpler and really outlines the sound of the chord clearly.

The material is played as 8th notes starting on the 1st beat of the measure and again as 8th notes starting on the 2nd 8th note of the measure (the “and” of one).

After playing the line through the keys the same intervallic sequence is played again in all triplets starting on the 1st, the 2nd and the 3rd triplet of beat one.  The PDFbelow only includes the written melody in 8th notes however.

~Enjoy!

Lesson 50: dom wide intervals PDF

Lesson 50: dom wide intervals sing along Mp3

 

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Jul 11 2011

Lesson 45: Charlie Parker Line

Bird may be my all time favorite melodic improvisior.  His sound, feel and ideas still seem fresh and alive and I enjoy him more and more the older I get.  I’m always shocked when I put on a side I’ve not heard for a while and think to myself,  “Man, he’s gotten better since the last time I heard him!”. 

Here’s a short Bird phrase I learned when I was young, trying to play along with Bird solos while reading out of the Omni Book.  It’s one of those lines that you hear Bird play a lot,  it also has a classic bebop shape containing triplet pickups and a primary melody grouped in 3 against  4/4 time.

I often find that  going back to Bird and/or Lester can really be ear/mind opening – the underlying structure of their ideas, melodically, harmonically and rhythmically seems to still be at the heart of modern jazz improvisation and in a fundamental way has not been surpassed.

You can also use the mp3 below to practice singing the line or working on the material in your head while visualizing the fingerings on your instrument. This is a great way to practice especially if you suffer from RSI or carpal tunnel.

~ Enjoy!

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Lesson 45 Bird Melody PDF

Lesson 45 Bird Melody Mp3

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