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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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

 

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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 memorize and play technically.

To expand on this melody, 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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Mar 16 2012

-Lesson 57: Scale Routine


Scales have been a popular thing to practice in both the jazz and classical world for years.  Playing through scales as been compared to a painter mixing paints from the primary colors. 

Scale practice can help you hear subtleties in harmony and melody while at the same time, building applicable technique on your instrument.

This is the simple way I like to work on scales:

1. Play a voicing or an arpeggio that outlines the chord or harmony that the scale will be heard with or against.

2. Play the scale trying to the underlying sound of the chord.

3. Play that same type of scale through the 12 keys.

This lesson covers 3 common scales derived from melodic minor harmony:

1. The locrian raised 2 scale (over -7b5 nat 9)

2. The altered scale (over 7#9,b9,#11,#5)

3. The lydian augmented scale (over major 7, #5,#11, 13)

This approach can be applied to and chord/scale combination and should help you hear the underlying harmony and the melodic sound of the scale.

~Enjoy!

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Lesson 57: Scale Routine 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.

 

 


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 diminished sequences from the Nicolas Slonimsky book; mainly the ones that Coltrane 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

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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.


Jan 27 2010

Lesson 19: Maj7 #9 #11 Melody

Using unusual modes from scales can help produce some interesting melodies.  This major #9 #11 melody comes from the 3rd mode of harmonic minor.  This mode is a wonderful substitution for Lydian or Ionian.  Lydian gives you a Major 7 with #11 where as the 3rd mode of harmonic minor gives you a Major 7 with #9, #11, and natural 9; it’s a very beautiful sound.  Here’s a simple melody from this harmonic minor mode that starts with an ascending Major triad in 2nd inversion fallowed by a descending triad a half step below and ending with a diatonic enclosure of the 5th.  You’ll see that although the melody is constructed of triads, all the notes are diatonic to the 3rd mode of harmonic minor.

The melody is played 3 times in triplets.  Once starting on the first triplet of beat 1, next starting on the 2nd triplet of beat 1 and lastly starting on the 3rd triplet of beat 1.  Remember, you can start the melody on any beat.

~Enjoy

Lesson 19 Major #11 #9 Melody PDF

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Jan 26 2010

Lesson 17: Intervallic Melody

Using bigger intervals when improvising can help create an interesting contrast to your linear ideas.  This is a melody comprised of a spread triad in 2nd inversion and 2 upper-structure “tensions”; the 11th and the 9th.

These melodies are played in both minor and major (#11).  In C minor  the notes are G, Eb, C (c minor triad in 2nd inversion) and F, and D (the 11th and the 9th).  In C major (#11) the notes are G, E, C (c major triad in 2nd inversion) and F#, and D (#11 and 9th).  The melodies are played as eighths notes, once on the beat and once off the beat (on one and then the “and” of one).    You can displace the rhythm in any number of ways or prolong some of the notes to create a more lyrical statement.  These melodies work well in retrograde as well.

~Enjoy!

Lesson 17 Intervallic Melody PDF

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Jan 13 2010

Lesson 16: Long Tones

This is one way to practice long tones that I have found very helpful and have modified it slightly over the years.  This can be practiced on most instruments with a little variation.

We will play the long tone exercise in 3 parts, I’ll explain each in some detail.

Keep in mind, this exercise will sound very ugly to practice, but it will definitely help you develop a better sound and better habits (relaxing and listening).

1. Take a deep in-breath:  Use a diaphragmatic breath.  Sometimes expelling all the air first and then relaxing to let the breath in will work well.

2. Gently hold your breath without closing your throat and  relax and listen actively.  Relax any way you can, mentally scan your body for tension and try to physically release it.  Listening actively  is the hardest part of this exercise.  You can easily forget to do it and loose the what I consider to be the most important part of long tones; the ability to fully listen one pointedly, without thought, to the sounds that are reaching your ears.  With practice it should be obvious when you’re really listening actively and when you’re not.

3. Breath out and play your long tone on any note but play the note flat.  By playing the note flat you will strengthen the muscles on the sides of the embouchure which help open the sound and let the reed vibrate freely.  This will also allow you more pitch and timbre flexibility over time.  This sound horrible and will drive your friends and family nuts, that’s why I do this one in my sound booth.

That’s all there is to it, just repeat this for 20 minutes to an hour each day (or as long as you can) and within about a week you should notice that you’re actually playing differently on the bandstand; listening more, leaving more space, staying more relaxed and in general, becoming more involved in the sound of the music.

~Enjoy!

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1. Breath in deep

2. Relax and listen (actively)

3. Play note flat

Repeat..



Dec 28 2009

Lesson 13: Lydian Melody in 5ths

Playing larger intervals can help to break up more linear ideas in a creative way that still sounds melodic and outlines the harmony clearly. This exercise in comprised of consecutive 5ths through Lydian, so it will work well over Major 7 (#11) or it’s relative minor (i.e. Cmajor7 #11 or Aminor7). The lesson starts in concert G major and descends by half step through the keys.

~Enjoy!

Lesson 13 Lydian Melody in 5ths PDF

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