Free Jazz Education and Music
Lessons
I composed this song in three for the recording date. The composition is two distinct melodic phrases set withing a simple harmonic progression. The solo sections are distinct and only reflect a simplified version of the harmony heard during the
Using only the 1,3,#11,7 Tetrad (or 4 note set) I’ve been using this 1, 3, #11, 7 Tetrad (4 note set) for years in both composition (voicings for big band or small group part writing) and as a group of
Using “triad pairs” has become a popular method to help generate melodic material. I first heard Oliver Nelson use triad pairs in his 1961 solo from Blues in the Abstract Truth. John Coltrane also used the concept extensively. Since that
I’ve been looking at using Modes of harmonic Major and harmonic minor over the chord progression “What is This Thing Called Love”. The first two chords (G half diminished and C7b9) could be thought of as coming from F harmonic
Today I’m working on the first melody of the standard “I’m a Fool to Want You”. I’m singing the opening phrase at the piano while visualizing the fingerings on saxophone. I’m using the piano to help with my pitch and
Today I’ve been singing half note roots over Coltrane’s tri-tonic system. In this case: C Maj, Eb7, Ab Maj, B7, E Maj, G7 repeat… while singing the roots I’m thinking of the chord names and qualities and tapping a 5/8
This is a supplementary post to Lesson 26. This skill will help you learn to play what you hear, learn to hear new ideas, melodies and intervals, help you transcribe and help you play by ear over songs that you
I’ve been working on this interval exercise with a drone for the last week or so and it’s really starting to have a positive effect on my ear and connection between my ear and my fingers. There’s an outline of
This short warm up is a melody based on a Major 7 #5 chord. The melody starts on the Root, ascends to the #5, ascends to the Major 3rd, descends to the Major 7, ascends to the Major 9. The
Here’s a simple melody that outlines the 4 distinct half diminished modes or scales. The PDF contains both scale and the melody (which uses the half diminished 7th chord and the 9 and 13 as embellishment). The modes are: The
Although I believe there is a limit to value of practicing and understanding chord scale theory, the melodic minor scale is so prevalent in jazz improvisation and composition, I think that it’s important and relevant for the developing improviser to
Last February I was interviewed by Joe Dimino at Neon Jazz. Joe’s blog is an amazing wealth of interviews and inspiration where you can spend hours learning insights from many great living jazz artists. Here’s my interview with Joe: To
