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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)
- ‘You have to take a breath’: Bertha Hope’s inspired internal conversation (State of the Blues, part 9)
- Leading with the left: Blues solos by Tommy Flanagan and Wynton Kelly that use hand-to-hand conversation (State of the Blues, part 10)
- A swingin’ dialogue: two choruses of Emmet Cohen’s intro solo on Joe Lovano’s ‘Big Ben’ (State Of The Blues, #11)
- How Red Garland’s first chorus of solo on ‘Blues By Five’ models a number of often overlooked jazz piano techniques (State of The Blues, #12)
- ‘Thin-slicing’ the blues: Kavita Shah’s solo on ‘Interplay’ (State Of The Blues, #13)
Emulate, Assimilate, Innovate
- Emulate, Assimilate, Innovate part 1 – stepwise patterns time-traveling through music history: Mozart, Haydn and Ella Fitzgerald
- Emulate, Assimilate, Innovate, Part 2: Bud Powell and Wynton Kelly
- Emulate, assimilate, innovate, part 2a: Ella Fitzgerald and ‘The Irish Washerwoman’
- Emulate, Assimilate, Innovate, Part 3: echoes of Billy Strayhorn’s ‘Rain Check’
- Emulate, Assimilate, Innovate, part 4: Taking the fifth – melodic phrases using perfect 5ths
- The Sixth Sense: major and minor sixths in the improvising of Thelonious Monk and Ella Fitzgerald (Emulate, Assimilate, Innovate part 5)
- Sevenths reaching for the heavens (or other faraway places) (Emulate, Assimilate, Innovate part 6)
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
- Thought of Bud At Midnight
- Bud Powell, bard of bebop
- Emulate, assimilate, innovate, part 2a: Ella Fitzgerald and ‘The Irish Washerwoman’
- How to write a two-bar blues (featuring an original blues, ‘After Lunch’)
- The Magic Number: great three-chorus solos on the ‘jazz blues’ progression, with an original tune, ‘Notes From All Over’
Recent Comments
- tgcleary on Wall, cardboard and paper pianos as practice tools
- Jonah Konane Johnson on Wall, cardboard and paper pianos as practice tools
- Hannah on An excerpt from Harvey Diamond’s solo on ‘Tenor Madness’ (State of the Blues, Part 7)
- Meghan O'Connor on The Sixth Sense: major and minor sixths in the improvising of Thelonious Monk and Ella Fitzgerald (Emulate, Assimilate, Innovate part 5)
- Hannah Ellis on The Magic Number: great three-chorus solos on the ‘jazz blues’ progression, with an original tune, ‘Notes From All Over’
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Category Archives: Uncategorized
Simple Paris Dancers: a bop-style rhythm changes
‘Simple Paris Dancers’ is a melody line in the bebop style on the ‘Rhythm Changes’ progression. I encourage you to check out the charts below along with a recent recording of the tune by my quartet Birdcode. It is through-composed, … Continue reading
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Everybody’s Inside Blues: ‘making the changes’ in a blues line
‘Everybody’s Inside Blues’ is a through-composed melody line on the twelve-bar ‘jazz blues’ progression. Here’s a live recording of it (in the key of F) from a gig I played a few years ago with guitarist Steve Blair and bassist … Continue reading
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You Are Here: a melodic study on ‘All The Things You Are’
You Are Here is a tune I composed based on the chord changes of the Jerome Kern/Oscar Hammerstein tune ‘All The Things You Are’. (Click the link to hear a recording of the tune by my band Birdcode.) ‘All The … Continue reading
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Harmonic Moss, Part 2: The ‘B form’ voicing of the major ii-V-I (including a scale outline and various melodic patterns)
The ‘B form’ voicing of the major ii-V-I prominently features the 9th degree of the minor 7th chord which functions as the ii. I find it a useful exercise to apply this voicing to tunes which both use major ii-V-I … Continue reading
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Harmonic Moss, Part 1: The ‘A form’ voicing of the major ii-V-I (including a scale outline and related melodic patterns)
This series of blog posts is titled ‘Harmonic Moss’ as it deals with rootless chord voicings, and moss is sometimes referred to as a rootless plant. This is not the first time I’ve come across moss in reference to music; … Continue reading
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‘Now What?’: a modal melody collage (and a history of the ‘So What’ progression)
My improvisation class begins by studying tunes and chord progressions that were common in the swing and bebop eras, including the blues (in the form of the Charlie Parker tune ‘Billie’s Bounce’), ‘Stompin at the Savoy’ and rhythm changes (i.e. … Continue reading
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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
Pairings, part three – Hand-some conversation: Two-handed melodic conversations by J.S. Bach and Oscar Peterson
This is the third post in the ‘pairings’ series. The two previous posts, on left hand walking bass with right hand melodic lines and left hand walking bass with right hand comping, each examine a particular technical challenge by comparing … Continue reading
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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)
The piano, more than any other instrument, has the capacity to evoke the sound of a group of players. In the Dave McKenna version of ‘C Jam Blues’ that I transcribed in the last post, it could be argued that … Continue reading
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Pairings, part one: left-hand walking bass and right hand lines in Dave McKenna, Bach and Handel
The concept of food pairings is one that I’ve learned a great deal about from my wife, Amber deLaurentis, a great pianist, vocalist and songwriter who happens to be an amazing artist in the kitchen as well. In food pairing, … Continue reading
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