Free Jazz Education and Music
In this short video I attempt to demonstrate how I like to practice Major Scale melodies. Often times we practice the same way we practiced when we where young, only faster. That is, instead of learning better melodic material as
If you’re like me, you may often listen back to one of your solos and think, ” I am playing too much, I’m not leaving any space and I’m not listening to the band “. I think that the main
This video is is an extension of lesson 130. here I’m just practicing a simple 4-3 suspension on each cord in the standard have you met Ms Jones. I’m using a natural four or 11 on every cord and the
In this lesson I’m practicing playing the natural 9 on every chord of the standard Have you met Miss Jones?. I’m using a displaced quarter note triplet rhythm starting on the 2nd 8th note triplet of beat one. After being
I discovered this warm up with some help from my friend Peter Schlamb. I did if for a few days before a gig and was shocked at how it changed my entire time feel and attention to the groove. I
I wrote a short original piece for my friend and Marimba player Michael Compitello. Mike is an amazing musician whom I’ve had the honor of working with at KU. This is a duo piece which is a study in cycle 5 motion using minor harmony.
By playing a G7 Shell (1,3,b7) and adding a triad over that basic structure, you can create a lot of harmonic voicings and melodic material.
This is an original composition of mine using a common writing tool. all the chords and melody to this piece come from one major scale.
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
I find that composing is a great way to spend time alone and to work out ideas that you may also use when you improvise. Original tunes also give you something to record and play with other people while contributing
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
Working on triads is something I do frequently as I find it good for my ears, my mind, my technique and my basic understanding of one of the fundamental structures found in both melody and harmony. Strong melodies and voicings
