Author Archives: tgcleary

In each of the solos I link to below, the soloist makes a change in their improvising strategy in the second chorus in order to create a contrast with the approach in their first chorus. In the comment section, please … Continue reading →

Kavita Shah is a vocalist raised in Manhattan who studied jazz voice at Manhattan School of Music and incorporates her ethnographic research on Brazilian, West African, and Indian musical traditions into her original repertoire.  Her recording of Interplay, a twelve … Continue reading →

(note: some of the links to which WordPress has added a strikethrough to mark them as ‘broken’ seem to actually work. Feel free to email me at the address above or add a comment below with any thoughts on this.) … Continue reading →

In teaching piano lessons, I integrate the study of technique and music theory with work on piano music, from the music of important jazz composers such as Duke Ellington, Thelonious Monk, Bud Powell, Mary Lou Williams, Horace Silver, Herbie Hancock … Continue reading →

Tom Cleary studied jazz performance at Hampshire College, where his teachers included Yusef Lateef and Archie Shepp, and music education and classical piano performance at the University of Vermont, where his teachers included Sylvia Parker and Elizabeth Metcalfe.  As a … Continue reading →

Throughout his career as a composer, Thelonious Monk composed a number of tunes that use the twelve-bar blues progression.  Among these are tunes based on one-bar motives or ‘riffs’ which Monk transposes and alters in various ways, which might be … Continue reading →

In two well-known melodies, one from the late 1950s and another from the mid-1960s, the ascending minor seventh interval is used to symbolize reaching for a not-yet-attained goal.  Leonard Bernstein and Stephen Sondheim’s ‘Somewhere’, first performed in 1957 as part … Continue reading →

The melody of Thelonious Monk’s blues Misterioso is based entirely on ascending major and minor sixths.  For most of the tune, Monk maintains perpetual motion by building ascending sixths off ascending and descending three-note major and minor scales.  The last … Continue reading →

The ‘Cool Blues’ lick was a phrase Charlie Parker used in multiple improvised solos, including his March 1946 recording of Yardbird Suite and his May 1947 recording of Cheryl.  In February 1947 he recorded an entire composition titled ‘Cool Blues’ … Continue reading →