The State of The Blues (solos on blues progressions)
- The State of The Blues, Part One: Helen Sung’s solo on C Jam Blues
- Talking and taking the words away: a visit from Stefon Harris (The State of the Blues, Part 2)
- State of The Blues, part 3: Joe Davidian’s solo on ‘Straight, No Chaser’
- A message from the future of jazz: Camille Thurman and her solo on ‘Sassy’s Blues’ (The State of the Blues, part four)
- An excerpt from Shirley Horn’s solo on ‘What Would A Woman Do?’ (The State of the Blues, part 5)
- The State of The Blues, Part Six: Gabrielle Stravelli’s solo on ‘Karma Medley’
- An excerpt from Harvey Diamond’s solo on ‘Tenor Madness’ (State of the Blues, Part 7)
- ‘Sideslipping’ in clave: Arturo O’Farrill’s solo on ‘Blue State Blues’ (State of the Blues, part 8)
Original tunes on changes of Vermont All State Jazz Ensemble audition tunes
Harmonic Moss (rootless voicings of the ii-V and ii-V-I)
- Harmonic Moss, Part 1: The ‘A form’ voicing of the major ii-V-I (including a scale outline and related melodic patterns)
- Harmonic Moss, Part 2: The ‘B form’ voicing of the major ii-V-I (including a scale outline and various melodic patterns)
- Harmonic Moss, Part 3: Route 37, a voicing-based melodic line
- Harmonic Moss, Part 4: the ‘A’ form voicing of the minor ii-V-i progression
- Harmonic Moss, Part 5: The ‘B’ form voicing of the minor ii-V-i progression
Improvisation
- Will The Circle Be Unbroken, Part 1: the seventh scale, the circle of fifths, melodic patterns from rootless dominant 7th voicings (featuring ‘October Blues’)
- Will The Circle Be Unbroken, Part 2: an exercise and reflections on the circle of descending fifths and the dominant cycle
- ‘Making the changes’ on the blues
- Everybody’s Inside Blues: ‘making the changes’ in a blues line
- Rhythm Changes and Trading Fours
- Simple Paris Dancers: a bop-style rhythm changes
- Charlie Parker and Alan Turing: Cracking the bebop code in ‘Anthropology’
- One half step of separation: Miles Davis and Ray Vega (a.k.a. the half step between the root and the seventh in the seventh scale)
- ‘Now What?’: a modal melody collage
- Midnight Donna and Reets in Paris: anagrams, mirrors and the one bar ii-V
- Six Degrees of Bud Powell, Part ii-V-I
- The neighborhood hang and the history hang (including ‘Monk, Bud and Elmo’, a tune on the changes of ‘In Walked Bud’)
- ‘Ornithology’: the memory palace of two bebop masterminds
- What is this scale called: Charlie Parker, Barry Harris and the minor ii-V progression
Root Systems (root position voicings)
- Root Systems, Part 1: Join the ii-V-I Club
- Root systems, part 2 / Take three at a time: an approach to learning major scales and ii-V-I progressions in all keys along with tunes from The Real Book (Volume I, sixth edition)
- Root systems, part 3 / outlining the ii-V and ii-V-I progressions with 7-up scales
- Root systems, part 4: Give it up for the root (position pattern)s! – Melodic patterns based on root position voicings
- Root systems, part 5 / Elijah’s Bounce
Pairings (jazz and classical pieces)
- Pairings, part one: left-hand walking bass and right hand lines in Dave McKenna, Bach and Handel
- Pairings, part two: left hand walking bass with right hand chordal comping by Kenny Barron, John Coates Jr. and G.F. Handel (or, Spring Comping Trip)
- Pairings, part three – Hand-some conversation: Two-handed melodic conversations by J.S. Bach and Oscar Peterson
- Sonatinas and other two-sided stories
- Look who’s Bartok-in’: folk song reinvention from Bela Bartok to Chick Corea and beyond
Conversation Pieces
Comping Trips (examples of comping by great jazz pianists)
One, Two and Three Chord Tunes (New Orleans jazz standards)
Various Other Posts
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Recent Posts
- ‘Blue Mercy Line’: doubletiming bop language on a I-IV vamp
- ‘You have to take a breath’: Bertha Hope’s inspired internal conversation (State of the Blues, part 9)
- Afternoon River Bop: a line on the changes to Eddie ‘Cleanhead’ Vinson’s ‘Tune Up’
- One Time Only (in memory of Ellen Powell)
- Tonight these chords belong to me: a history of the ‘Cherokee’ progression
Recent Comments
- Griffin DeMatteo on Emulate, Assimilate, Innovate, Part 3: echoes of Billy Strayhorn’s ‘Rain Check’
- cdwallac on American Tunes
- Liv on You Are Here: a melodic study on ‘All The Things You Are’
- Griffin DeMatteo on You Are Here: a melodic study on ‘All The Things You Are’
- tgcleary on Root systems, part 2 / Take three at a time: an approach to learning major scales and ii-V-I progressions in all keys along with tunes from The Real Book (Volume I, sixth edition)
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Category Archives: Root Systems (root position voicings)
Root systems, part 5 / Elijah’s Bounce
To conclude this series of posts on root position voicings of the major ii-V-I progression, here’s a tune I composed called ‘Elijah’s Bounce‘. I borrowed the chord progression from the Charlie Parker tune ‘My Little Suede Shoes.’ At the risk … Continue reading
Root systems, part 4: Give it up for the root (position pattern)s! – Melodic patterns based on root position voicings
The name of this post is a variation on the phrase, ‘Give it up for The Roots!’, that Jimmy Fallon often uses to introduce his house band on his late night show. (I made an appearance on the show in … Continue reading
Root systems, part 3 / outlining the ii-V and ii-V-I progressions with 7-up scales
Once you have become familiar with playing ii-V-I progressions in all keys in at least one voicing using your list of six tunes from the first post in this series, a possible next step is to practice the 7th scale … Continue reading
Root systems, part 2 / Take three at a time: an approach to learning major scales and ii-V-I progressions in all keys along with tunes from The Real Book (Volume I, sixth edition)
This post is in response to questions often asked by my students. ‘What tunes should I practice during my summer break from lessons?’, they ask. Or: ‘How can I get better at learning tunes from a fake book chart (i.e., … Continue reading