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
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)
Conversation Pieces
Comping Trips (examples of comping by great jazz pianists)
One, Two and Three Chord Tunes (New Orleans jazz standards)
Various Other Posts
Category Archives: The State of The Blues (solos on blues progressions)
A Wrinkle in Time: Joe Davidian’s solo on ‘Straight, No Chaser’ (State of The Blues, part 3)
Joe Davidian is a highly talented jazz pianist and native Vermonter who is currently living and playing in New York City. I’m proud to say that I watched Joe grow up as a player in the Vermont jazz scene, and … Continue reading
The State of The Blues, Part One: Helen Sung’s solo on C Jam Blues
This is the first in a series of posts featuring transcriptions I’ve done of contemporary jazz pianists soloing on the blues progression. Sometimes in the work of contemporary players such as Fred Hersch, Brad Mehldau and Ethan Iverson (who studied with … Continue reading