We start by talking about a specific way to view and hear harmony. We simplify a few harmonic concepts that you might have found complicated.
We will explore the pentatonic scale from a jazz improvisation standpoint applying the scale to different chord types and common progressions.
Bill Evans was a true innovator. He revolutionised the sound of the jazz trio and influenced jazz pianists that came both before and after him.
In these drills we isolate the #11 alteration which is a beautiful colour to add over dominant chords – one of my personal favourites!
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We explore Wynton Kelly’s bluesy yet modern approach with his solo on ‘Pfrancing’ from the Miles Davis album ‘Someday My Prince Will Come’.
You can use the specific bassline demonstrated for playing solo piano, learning different blues heads, and for practising improvised solos.
In this lesson we explore general improv concepts such as: arpeggios, approach patterns, enclosures and turns and chord tone soloing.
The tune “Emily” is played in many different keys, but we will create this arrangement in the key of G, like several Bill Evans recordings.
This lesson provides an introduction to choro music. We explore the core rhythmic & harmonic elements and the genres’ history and development.
Learn how to add a live seminar to your calendar, how to browse the archived seminars. and how to use the seminar chaptering system.
Using the tune “Georgia” – we will also explore the concept of the major blues scale and how to apply this to major 251 progressions.
In this lesson, we will explore a simple Samba groove that will be effective for working with all kinds of Brazilian Samba and Bossa Nova tunes.
In this lesson we are going to arrange the tune “The Nearness Of You” using simple voicings containing the roots, 3rds, and 7ths.
In this lesson we explore the harmony and melody of the tune “Samba de Verão” also known as “Summer Samba” written by the great Marcos Valle.
The 3 essential components of composing music are melody, harmony, and rhythm. A good composition will contain all three of these elements.
In a situation like a jam session or a gig where we haven’t decided how the tune will end, it’s good to know few common ways to end the tune.
Lead sheets are a useful tool when starting out with jazz, but by learning tunes by memory, it will benefit your playing in a number of ways.
Lyndol teaches you how to arrange “Santa Claus Is Comin’ To Town” for a singalong setting with your friends & family over the holidays.
We create a solo piano arrangement of the song Spartacus Love Theme – written by Alex North. The arrangement is in the style of Bill Evans.
We explore inner voice movement over major, minor, and dominant chords, and then we will apply this information to a well-known jazz standard.
Before we start to use the chosen melody as a tool for improvising, you must play through all 12 keys with simple voicings in your left hand.
In this lesson we create a simple vamp using the 251 and 2516 progression in the key of G Major using Brazilian rhythms.
In this lesson, we are going to learn about incorporating the voice into our playing, right from the beginning of learning a tune – Body & Soul.
In this lesson, we will create a solo piano arrangement of the well-known standard “Waltz For Debby” written by the great Bill Evans.
In this lesson we will analyse a transcription from one of the most influential pianists in history of jazz music, Bill Evans.
In this lesson we provide an introduction and overview of New Orleans music in general as represented in its various piano styles.
This song was written by Hugh Martin and Ralph Blane and was first introduced by Judy Garland in the movie “Meet Me In St Louis”.
We introduce the concept of whole-step 251 drills, and how they can be an interesting alternative to drills around the circle of fifths.
To get a deeper understanding of this lesson, check out the lessons on the melodic minor modes and the introduction to transcription tutorial.
We explore the voicing options for major chords under each note of the Lydian Mode which is a common scale to play over major chords.
Boogie-woogie is a distinct and significant branch of the Afro- American musical heritage which pretty much became American popular music.
We introduce the major modes, explaining what they are and where they come from. These 7 modes play a fundamental role in improvisation.
This type of passing chord is a dominant chord built a half step up. Dominant chords always have a strong pull to resolve a half step down.
In this lesson we explore the anatomy of the Hammond B3. We discuss the drawbars, presets, pedals, percussion, & chorus vibrato settings.
You will learn how to browse the PianoGroove course library using our course index page, the course genre pages, and the syllabus pages.
We will explore some of the more advanced applications, and how you can add this to your playing right now to sound like a jazz piano pro.
To play a rootless voicing we leave out the root of the chord and play one of the upper extensions to get a richer, more colourful sound.
Scales provide the basis for understanding harmony. Learning and memorising the 12 major scales is the first step in learning jazz piano.
In terms of harmonic structure, Bossa Nova has a lot common with jazz music as both share a sophisticated use of seventh and extended chords.
Extended chords create a richer and more complex sound than triads and 7th chords and are used to create more interesting progressions.
Diminished scales and chords are a very important subject. Diminished harmony works as a ‘base’ or a ‘spine’ to all harmonic movement.
Tritone Substitution is a useful reharmonisation technique that can be used to add harmonic interest and variety to a chord progression.
The purpose of this lesson is to introduce the minor blues form and explore the differences to the standard 12 bar form.
We can also achieve some really interesting sounds by applying upper structure triad theory to both major and minor chords.
“Just Friends” is a great tune to improve your understanding of the 251 progression and the voice leading of b7ths dropping to 3rds.
In this lesson we explore the applications of the rhythmic concept of the “fork”, as well as common chord progressions and voicings.
In this tutorial we create a solo arrangement for “Georgia On My Mind” applying the major blues scale with some soulful licks and riffs.
We can always play the last 4 or 8 bars of the tune as an intro. In this lesson, we will explore other ways to create introductions for any tune.
In a minor 251, the 5 chord will be an altered dominant chord. In this lesson we apply altered dominant chords to the major 251 progression.
In this course we’re going to focus around a post-war Chicago Blues style that applies to many other styles of blues and improvised music.
Block chords are used for harmonising a melody line by moving the notes of the chord in parallel, following the same rhythm as the melody.
In this lesson Jovino explains his composition “Samba at Purchase” which was composed in a student workshop at Purchase College in NYC.
We outline the expectations of you as an accompanist and provide tips on working with singers to help them achieve their best performance.
The 12 bar blues is the most common blues chord progression. In it’s most basic form, it contains just the I, the IV and the V chords of the given key.
In this lesson we’ll analyse the harmony of “There Will Never Be Another You” to help memorise & internalise the chord changes and song sturcture.
This lesson provides an introduction to Jovino’s course where we explore Hermeto Pascoal’s unique approach to triad improvisation.
We start this course with a brief overview and history of Brazilian music and we distinguish the key differences between Samba & Bossa Nova.
We explore the basic 145 gospel blues progression using a blues shuffle feel. If you are new to gospel piano, this lesson is for you!
First, we break down the anatomy of a swing line and we will talk about the variables and dynamics of swing that you can add to your playing today.
In this lesson we create a simple but beautiful arrangement of the well-known Christmas tune “I’ll Be Home For Christmas”.
Diminished 7th chords are not as common as major, minor and dominant chords and so you don’t see them as often in jazz standards.
Intros can be useful to extend the length of your performance and also to establish the tonality or the key in which the tune is being played.
In this lesson, we explore the minor 25, and how to use our chosen melody over any minor 25 progressions and also the tune we are studying.
In this lesson we explore some simple Bossa Nova and Samba grooves over the 251 progression and 2516 progression in the key of G Minor
In this masterclass we will explore how you can jump quickly into any Christmas Tune from the Christmas RealBook.
In this lesson we build upon the 3-note voicings introducing 9ths and 13th to drill the 251 progression in whole steps around all 12 keys.
The left-hand is the foundation of the driving rhythm, over which the right-hand can… well… dance! Let’s look at the characteristics of the style.
In this lesson we will take a look at one of the leading figures in the development of bebop and modern jazz, Bud Powell, and his solo on Sonny Side.
Welcome to this video where we will work on more advanced exercises for melding your singing and playing, learning Body and Soul, and advancing your connection to the piano.
The melodic minor is an exotic sounding scale and the modes of the melodic minor are used extensively in jazz improvisation.
In this lesson I explain what drop 2 voicings are, how to construct them and how to practice drop 2 so that you are familiar with them in all 12 keys.
We will explore the layout of the Pro Member Dashboard and how to track your progress through the lessons and courses on the website.
Transcription is one of the most time effective ways to learn jazz and you should incorporate transcription into your daily practice routine.
In this lesson we discuss some general improvisation concepts for This Masquerade and also any other jazz standards you are working on.
Introduced by the pianist Bill Evans, the ‘So What’ chord is a minor 11th voicing that sounds great over minor chords with the 5th in the melody.
Rootless voicings sound more professional than root based 7th chords and they voice lead much more smoothly in a 251 progression.
Slash chords contain 2 bits of info, the 1st letter indicates what chord should be played & the 2nd letter specifies the bass note of the chord.
251s feature heavily in Bossa Nova music and it’s a good idea to learn to play major and minor 251 progressions with a Bossa Nova groove.
we explore how we can enhance the form with inversions, passing chords, substitutions and a minor turnaround to take us back to the top.
In this lesson we explore the classic choro piece, Vou Vivendo by Pixinguinha.
The half-whole diminished scale is an 8 note symmetrical scale that’s used for improv. The scale alternates half and whole steps until it starts again.
We explore voicings for each note of the dorian mode. Watch this and never again get stuck on what to play for minor chords!
The chord changes are relatively simple and there’s lots of 25s and 251s to get us familiar with these very common progressions.
The So What chord voicing contains all 5 notes of the pentatonic scale. That’s why it works so well in so many different harmonic situations.
We have voiced minor 251 progressions with our left hand and so now it’s time to spread the notes across 2 hands to get bigger chords with more impact!
In this tutorial we will explore some useful formulas and techniques that can be used to create solo piano introductions in minor keys.
We first learn the note names, then intervals, and then we learn the triad which is the most basic building block of harmony.
In this lesson we explore the harmonic and rhythmic structure of the blues, how the blues is constructed, and how it is commonly played.
This tune was composed in 1979 when Jovino joined the band of Hermeto Pascoal. The tune is a Samba and also incorporates the Baião style.
We explore the key elements of an effective accompaniment. We will discuss your role in terms of the melody, the harmony, and the bass.
This song is played in many different keys, but we’re going to cover it in the original key which is Eb, also adding the verse into the arrangement.
When jamming with other musicians, you will be required to perform different roles from playing solo piano. Most of your time will be spent “comping”.
In this lesson we are going to learn how to memorise major scale fingerings and proper technique when playing scales in all 12 keys.
In this lesson, we’re going to explore an important tritone relationship to help you quickly access altered dominant chord voicings in all keys.
In this lesson Jovino explores triads that can be used over major, minor, dominant and diminished chords.
Upper structure triads are complex altered dominant chord voicings that are widely used in solo jazz piano performance.
In this lesson we broaden the harmony of the 145 progression by introducing alternate chord changes, reharms, and passing chords.
This is a short interview video with Jon where he shares his tips and insight for students who are new to jazz, blues, and funk music.
We create a solo piano arrangement using just triads and 7th chords. This is a beautiful tune to share with your friends and family.
We will start with left hand voicings to get a good grip of the melody and chord changes. We’ll then add in some bigger voicings and passing chords.
The basis of learning music and especially improvised music is to be able to recognise different intervals, melodies and harmonies.
Now that you understand the basic blues form, it’s time to create the more interesting and sophisticated jazz blues progression.
In this lesson we explore 2 useful features of the Transcribe Software that will help you with transcribing chords and improvised lines.
We’re going to introduce an exercise that will not only get the 1625 changes in our hands, but make the notes clearer in our mind.
We are going to explore tritone substitution and apply the chosen melody over tritone sub 25s in the song “There Will Never Be Another You”.
The Red Garland voicing has a distinctive ‘block chord’ sound, but compared to previous styles of block chords, it has a much brighter quality.
We apply inner voice movement over the Imaj7 chord. This is a very useful inner voice to visualise and internalise in all 12 keys.
The left-hand is the bass player and drummer in a band, both rolled into one. It keeps the beat, it plays the bass line, and it establishes the groove.
Walking bass is the most common type of bass that you will hear in jazz and jazz blues on the organ. In this lesson we explore the theory.
For this masterclass, we will be using closed position voicings, meaning that the notes of the chord are inside a single octave.
In this lesson we take a look at one of the most copied pianists of all time, McCoy Tyner, and his solo on Passion Dance from the album The Real McCoy.
We will explore the layout of the lesson pages and discuss the lesson chapter interface, lesson downloads, and commenting section.
Minor harmony is much more complex than major harmony and so the minor 251 progression takes much more time and patience to master.
The Herbie Hancock voicing is a rich-sounding, two-handed minor 11th chord. This voicing definitely has a funky vibe to it but you be the judge!
There are three types of minor scale: the natural minor, harmonic minor, and melodic minor. Each one has a different use & application in jazz.
Before attempting to improvise over a jazz standard or lead sheet, it’s a good idea to identify which chord scales will work in the progression.
This is part 2 of the tutorial on dominant chord voicings. Here we explore voicing options for the natural 4th, #11, 5th, #5, 13th and the b7.
Upper structure triads are complex sounding altered dominant chords. They will add texture and sophistication to your playing.
This lesson is a continuation of Jovino’s previous tutorial on the choro piece Vou Vivendo.
Cluster voicings are tightly spaced groups of 3 or more notes that act as a chord. They don’t usually contain both ‘essential chord tones which are 3 & 7.
We explore various ways to add harmonic interest over dominant chords using tritones. We use the tunes ‘Body and Soul’ and ‘Misty’.
In this lesson we create a beginner focused arrangement of the tune “When Sunny Gets Blue” using roots, 3rds, 7ths, and the melody.
In this lesson, we’re going to create a solo piano arrangement of the well-known standard ‘On Green Dolphin Street’, written by Bronislau Kaper.
In this tutorial we explore Jovino’s composition “Alegria na Mata” which can be translated into English as “Happiness In The Woods”.
In this lesson we will combine quartals and upper structures to create some quartal upper structure voicings that are well suited to a comping setting.
Welcome to this lesson on adding fills when accompanying singers. We will discuss the different accompaniment techniques when playing with singers.
We examine the components of both the right and left hand and explore the interplay between the drums, the bass lines, and harmony.
An important point with sus chords is that we often resolve the suspended 4th to turn the chord into a regular dominant 7th voicing.
We have lots of creative freedom when creating our introductions and in this lesson we will explore some of the options available to us.
We examine some of the most common gospel chord progressions that are used for introductions in churches and for solo piano performance.
In this lesson we continue to explore the triad improvisation principle over the major 251 progression and the major 2516 progression.
In this 5 minute masterclass we will explore how we can use triads as a way to create improvised melodies and whole improvised solos.
A nice place to start out with walking bass lines is to create lines using just the root and 5th with either chromatic or whole step approach tones.
In this 5 minute masterclass we’re going talk about time, and how to improve you own time feel and detect your bad tendencies.
This lesson is a quick analysis and performance of the left hand voicings in the tune “Alone Together” to preare you for the improv tutorials.
In this lesson we explore the 1625 turnaround to create a continuous stream of 3 jazz Christmas arrangements in the key of C Major.
This sounds like a complicated subject, but in fact, this is a concept which will help you simplify your view of piano intervals.
In this lesson, we will explore the diminished chord, and how it connects 4 different dominant 7th chords through the minor 3rd relationship.
This lesson is closely related to the ‘Pentatonic Improv’ lesson so if you haven’t already, I’d recommend you check that out first.
The 12/8 groove is associated with Fats Domino who was one of the most famous musicians to come out of New Orleans in the 20th century.
The song first appeared on the album Giant Steps, which I recommend to check out as it is one of the most influential albums of all time.
For jazz organists, walking bass is played primarily with the left hand on the lower manual, with some elements supported by the pedals.
In this lesson we will take a look at pianist and composer Thelonious Monk and several of his compositions and elements of his playing.
These handy video player tips and shortcuts will help you to watch and review the piano lessons more effectively and efficiently.
Coltrane changes, also known as the ‘Major Third Tonic relationship’ is a harmonic movement where instead of one tonic center, we have 3.
The Kenny Barron voicing is an minor 11th chord voicing built from 5th intervals. The voicing is names after acclaimed jazz pianist Kenny Barron.
This tune follows a standard 32 bar AABA form and there is also a 24 bar introduction which we are going to include in the arrangement.
When starting out playing Bossa Nova standards, it’s a good idea to separate and isolate the different elements that make up a Bossa Nova groove.
In this lesson, we will introduce right hand improvising primarily using the notes of the minor pentatonic scale and the minor blues scale.
This is part 2 of the tutorial on dominant chord voicings. Here we explore voicing options for the natural 4th, #11, 5th, #5, 13th and the b7.
In this lesson we are going to look at some alternative ways to voice minor 251s with our left hand. We introduce the -11b5 chord and its inversions.
Learning and memorising all of the upper structure triads is a daunting task! This lesson introduces the upper structure cheat sheet.
In this lesson Jovino breaks down and demonstrates how to feel 2/4 time which is commonly played in Brazilian music and standards.
I’m going to cover a few ideas and concepts that will help you think of the piano as an orchestra and think of your solo jazz piano arrangements as an orchestration.
We explore how you can use So What voicings not only for minor chords, but also major chords by creating a quartal maj13 voicing.
The concepts we’ll be focusing on are target notes, approach patterns and chromaticism. Understanding these principles will give you line structure.
In this lesson Jovino explains the creative process behind his composition “Carmel” which is a Baião in the key of Bb Major.
In this lesson we will explore how you can develop your ability to add fills and other melodic decoration to the tunes you are playing.
In this lesson we look at Jovino’s arrangement of Antonio Carlos Jobim’s choro Falando de Amor.
In this 5 minute masterclass we will look at how a pair of triads can define any mode and become a strong sound for improvising and comping.
In this lesson we will shift the focus onto our left hand and explore some useful left hand patterns, mainly focusing on the shuffle feel.
When learning a new jazz standard the first thing to do is listen to as many different recordings of the tune. Then listen and transcribe from them.
Chord tone soloing is the process of creating improvised lines predominantly or exclusively with the primary tones of the chord.
In this lesson, we discuss a number of important considerations when soloing with a singer. We then cover the most common ways of ending the tune.
In this lesson, we explore rhythms, voicings and comping patterns for common chord progressions in major keys such as the 25, 251, & 1625.
In this lesson we expand on the material covered in the previous video and look at the minor 251 and associated triad options.
We start by playing through with left hand voicings and then talk in length about the 1625 progression and how you can use it to develop introductions.
‘Someday My Prince will Come’ was a popular tune with the jazz musicians of the 20th century and is still played in jazz clubs, hotel lobbies and weddings.
The altered contains every possible altered chord tone and is a great scale choice to improvise over altered dominant chords.
In this 5-minute masterclass, we will walk thought a number of vocal exercises that can help you gain valuable information about your voice.
In this section of the tutorial we are going to explore how you should be developing your swing feel and also your ability to improvise in general.
The roots of the Lyndian Concept can be traced back to Pythagoras who was a musician, mathematician, and philosopher.
In this lesson, Jovino answers some questions on triads and explores some ideas on how to create complex sonorities from a simple base.
In jazz, Rhythm Changes is a common form. It’s very popular in jam sessions and a crucial part of everyone’s piano repertoire.
In this lesson we create a beginner-focused arrangement of the tune “Pure Imagination” from Willy Wonka & The Chocolate Factory.
Tuomo shows us 3 different altered dominant 251 lines and then shows how we can create our own melodies over altered dominant chords.
There are two different kinds of chromatic 25s, descending 25s, and ascending 25s. In this course, we are going to focus on the descending 25.
The Rhumba and Habanera grooves are an important element of the rhythmic toolbox of New Orleans Piano to make the music funky.
“Stardust” by Hoagy Carmichael is 48 bars long including the 16 bar introduction. From bar 17 onwards, the tune then follows a standard ABAC form.
We introduce the b9 chord alteration into the whole step 251 drill by lowering the 2 middle voices in our right hand voicing shape.
We’ll learn some basic right-hand chord voicings and rhythms, and some specific riffs you can use in many places when playing boogie-woogie.
Understanding the foldback of the pitches on the lower manual is important to inform the melodic contours of your bass line.
My One & Only Love is a jazz ballad written by Guy Wood. The tune follows a 32 measure AABA form and is usually played in the key of C major.
In this lesson we will take a look at one of the greatest pianists and virtuosos of all time, Oscar Peterson, and his solo on C Jam Blues from the album Night Train.
Each lesson page contains a “Bookmark This Lesson” option which is a handy feature to set goals, practice reminders, and track progress.
One of the most important things to remember is that “Comping” is shorthand for ‘accompanying.” It’s a subordinate role in the band.
As a jazz pianist, you need to have a solid understanding of intervals so that you can build extended chords quickly and improvise freely on the piano.
A very important point is that it’s not absolutely necessary to play all of these elements concurrently throughout the performance.
In this lesson, we’re going to introduce some more interesting and exotic sounding scales we can use to solo over the minor blues form.
251 progressions are essential components of the jazz language and so taking the time to memorise them will greatly benefit your playing.
In this lesson we explore some advanced applications of upper structure triads in context of jazz standards we have covered.
We discuss some important principles for creating a simple walking bass line and then apply the principles in the context of 251 progressions.
We start the lesson by recapping the basic theory behind sus chords and then explore them in context of major and minor 251s
This lesson follows on from Jovino’s previous lesson on Jobim’s Falando de Amor and looks at accompaniment and improvisation.
The Christmas Song is also known as ‘Chesnuts Roasting On An Open Fire’ and this sentence is also the first line of the lyrics.
In this lesson we will take our study of chord tone soloing a step further by incorporating triplets and swing 8th notes into our improvised lines.
In this lesson Hayden explored the altered tensions over dominant chords and how to resolve these tensions into the Imaj7 Chord.
Minor progressions often contain altered tones which can be used to add interesting colours to your progressions and groves.
In this lesson we will explore some useful voicings, patterns, and rhythmic ideas for right hand comping over the 12 bar blues.
In part 2 of this tutorial, we dive straight into the chord changes with two handed voicings and create an advanced ballad arrangement.
This tutorial introduces the ‘locked hands’ technique. This style involves playing left hand voicings simultaneously with an improvised line.
Welcome to this tutorial on the jazz-fusion song “500 Miles High” by Chick Corea. We will create a solo jazz piano arrangement.
We study leading tones and how they are used to create smooth connections between chords and also to guide the vocalist or choir.
In this lesson we’ll analyse 2 solos over “The Days Of Wine & Roses”. We deconstruct these solos to gain insight into improvisation.
This ballad is an absolute staple of any jazz setting. It’s well known and one that both singers and instrumentalist seem to universally love.
In this lesson we explore how you can navigate over the minor line cliché using bass lines, two-handed chords and left hand voicings.
In this course we will take a look at one of the most influential modern jazz pianists, Herbie Hancock, and his solo piano performance of “Someday My Prince Will Come”.
In this 5 minute masterclass Tuomo demonstrates 3 common blues lines that can be played over a 251 cadence in the key of F.
We explore how we can break up the 4 beats of a bar, place accents on the weaker beats, and introduce dissonance into our chord voicings.
Welcome to part 2 of this lesson on the tune Stardust. In part 1 we explored the 16 bar introduction and now we’re going to move into the main tune.
In this 5 minute masterclass we will explore the key principles for creating elegant, efficient, & ergonomic chord voicings.
Like Someone In Love is one of the great jazz standards. The tune is written in the key of Eb Major and follows a 32 measure A1 – B1 – A2 – B2 form.
We’ll examine the right-hand riffs and licks that make the boogie-woogie style so infectious. We will also explore the blues and pentatonic scales.
Passing chords are temporary stepping stones between chords, adding variety and making your playing sound more interesting & dynamic.
Misty is one of the most popular jazz ballads and the distinctive melody is immediately recognisable amongst jazz musicians.
The triad is the basic building block for many different types of chords. The 4 types of triads are major, minor, diminished and augmented.
In Part 3 we will add ornamentation to the melody, creating much more melodic interest and a nice climax towards the end of the tune.
In this lesson, we will explore a number of different left-hand techniques and basslines to create interest in the lower registers of the piano.
The secondary dominant, or 5 of 5, is one of the fundamental extensions of the basic 2-5-1 progression in jazz harmony.
We’re now going to take the study a step further by adding scales into the walking bass lines and enhance the rhythm and swing feel of our lines.
Usually played in the key of G Minor, the tune follows a 32 measure AABC form and contains both major and minor 251 progressions.
Using the well-know tune “In A Sentimental Mood” we’ll explore the options available to harmonise step-wise melody lines.
In this lesson we create a beginner arrangement of the jazz piano classic “Body & Soul” using just roots, 3rds, and 7ths in our voicings.
We jump straight in with two-handed voicings, starting with simpler chords and then increasing the complexity of the voicings we choose to play.
Commonly associated with the film “Casablanca”, this classic is written in Eb Major and follows a standard 32 bar A-A-B-A form.
We are going to combine out knowledge of chord tone soloing with approach patterns, enclosures, and non-diatonic passing tones.
Using a simple 25 progression, we will demonstrate the key differences between improvising with a straight feel, and with a swing feel.
In this lesson we’re going to look at “A Rã” by João Donato, another simple but surprisingly intricate tune by this great composer.
Transposition is the process of taking a tune in a certain key such as Amin and transposing, or changing it to another key, such as Cmin.
In this lesson we discuss the importance of learning the melody to become more comfortable and confident with melodic improvisation.
In this lesson we create a solo piano arrangement of a beautiful ballad ‘Never Let Me Go’, written by Jay Livingston and Ray Evans.
In this lesson we’re going to create a solo jazz piano arrangement of the beautiful jazz standard ‘If I Should Lose You’.
We are going to take advantage of our practice time to build a set arrangement of voicings to support our singer throughout the performance.
In this lesson, Tuomo shows us 3 common reharmonisations of a 251 progression that we can play in our jazz standard arrangements.
In this 5 minute masterclass we’re going talk about bebop scales. Bebop scales are scales that derive from the bebop language, adding an extra chromatic note to a basic major, minor or dominant scale.
My Funny Valentine is a difficult standard to learn. In this lesson we breakdown the complicated chord changes and build a solo arrangement.
When studying music, we often distinguish 3 core components which are rhythm, melody, and harmony. But how are these interrelated?
We use lots of extended & altered harmony & also some interesting applications of inner voice movement, drop 2 and pentatonic voicings.
In this lesson we will explore right hand comping voicings and technique to accompany our own solos or a solo of someone else.
A seventh chord is a triad which has been extended to include the 7th degree of the scale. This creates a fuller sound than simple 3-note triads.
Written in the key of Eb Major, Tenderly follows a 32 measure A – B1 – A – B2 form and has an impressionistic character similar to early Debussy.
This is a nice simple Christmas ballad with a repetitive melody and straight forward changes. The tune follows an ABAC Form and is written in C Major.
First we discuss how the melody is phrased when playing with a medium swing. We also look at the placement and syncopation of the chords.
Widely quoted as one of Gershwin’s finest compositions, the harmony and melody is challenging with unusual changes and large leaps in the melody.
In this lesson we will apply the theory from the walking bass lessons and also introduce rhythmic comping and other stylistic elements of walking bass.
‘How Insensitive’ is a well-known tune written by Antonio Jobim who was one of the main exponents of the Bossa Nova movement in 1950s Brazil.
When writing “Desafinado”, Jobim and Mendonça decided to write a tune with many of these unusual scale degree choices in the melody.
Thelonious Monk’s Round Midnight contains lots of interesting chord changes. Written in the key of Eb Minor, there are 6 flats to watch out for!
Blue in Green is an unusual tune. The 10-measure form is much shorter than most jazz standards and so it’s repeated numerous times in a performance.
These principles can be applied to any tune. Always remember to look at melody and chords for inspiration when introducing a tune.
Now you have an understanding of a basic improvised line, we will now take it a step further with non diatonic passing tones and chromaticism.
“Summertime” is a favorite song amongst both singers and players. The form is nice and simple, and the lyrics are fantastic… particularly the 2nd verse.
This lesson on licks and riffs will inspire you to build your own vocabulary that you can use to improvise when playing the 12 bar blues.
In this lesson we will look at a composition by the great guitarist Baden Powell called “Consolação” with lyrics by Vinicius de Moraes.
In this lesson we’re going to create a solo piano arrangement of an old song ‘Manhattan’, published 1925 and written by Rodgers And Hart.
We start off playing the tune very freely in a rubato manner and the second time through we will firmly establish the rhythm and timing.
Elsewhere in the world, the blues is generally heard in the 12 bar format. Here in New Orleans it is most often played in the 8 bar form.
You can use this bass line or any bass line for playing solo piano, learning different rhythm changes heads, and for practicing solos.
For a ballad, the tune has quite an up-beat and bouncy vibe which can also be played at faster tempos with the same chord voicings.
“Power Chords”, or “Chord tone triads” do not contain the 3rd. Instead we have R-4-5 or R-2-5 which can be used to build quartal harmony & voicings.
In this course we’re going talk about playing outside the changes and I will show few perspectives how you can start to approach the subject.
This lesson applies upper structure triads to the tune Tenderly and also discuss ways to add fills and runs in between the chords of this great tune.
Using “Boogie-Woogie Prayer” we’ll put together all of the boogie-woogie elements: basslines, licks, slurs, trills, slide-offs, and turnarounds.
The title is interesting as it combines the word “Samba” and “Bolero”. “Sambolero” is a term that was used in Brazil back in the 1950s.
Michel Legrand’s ‘What are you doing the rest of your life’ is a challenging tune to learn and contains some difficult-to-navigate chord changes.
You can use these comping exercises and drills to strengthen your right hand comping on Hammond organ as well as on the traditional piano.
The minor 251 progression in the final measures of the bridge is a nice place to add some altered voicings and upper structure triads.
In this lesson we will be exploring the common intros, endings, and turnarounds that are found in the Chicago blues piano style.
Mr. PC is a composition by John Coltrane, arguably the greatest jazz saxophone player of all time. We will apply everything from the Minor Blues Course.
In part 2 of this tutorial on “Embraceable You”, we focus on the second half of the form. We create bigger voicings to add a sense of climax and finale.
Time Remembered is unusual tune as is doesn’t contain any dominant 7th or diminished chords. It is a modal composition with interesting changes.
In part 2, we are going to enhance the melody and add some rhythmic devices into our left hand to introduce the Bossa Nova feel and groove.
Blue in Green by Miles Davis contains a lot of upper extensions and alterations in the melody which makes it a perfect tune for applying upper structure triads.
Duke Ellington’s ‘In A Sentimental Mood’ is one of the most recognisable jazz ballads. The tune is very accessible and a great for beginners.
In this lesson we will explore a simple way to approach the tune “Autumn Leaves” with a walking bass outlining just the root and 5th of the chord.
It was first recorded in 1931 by Ozzie Nelson and his Orchestra, it was written by Fabian Andre and Wilbur Schwandt, with lyrics by Gus Kahn.
This jazzy Christmas song tutorial is based on the chords and changes from the Bill Evans arrangement… check that out if you haven’t already!
We build upon what we have covered in the previous tutorials by introducing upper structure triads, sus chords and a stride style.
With your knowledge of chord tone soloing, the blues scale is now just another dimension that you can add to your solo, instead of the whole solo!
The first jazz standard lesson in this course is “Corcovado” written by the great Antonio Carlos Jobim and lyrics by Vinicius de Moraes.
In part 2 of this tutorial, we will introduce extended and altered chord voicings to create a richer and more sophisticated accompaniment.
In this lesson we will look at another João Donato composition with lyrics by Gilberto Gil called “Bananeira”.
In this lesson, we explore the time signatures 3/4, 6/8, 4/4, & 12/8 for the same gospel church song “What A Friend We Have In Jesus”.
We explore the gospel stride style using the tune “Down By The River Side”. We cover bass notes, voicings, and right hand melodies.
With New Orleans music it’s easy to concentrate on the rhythmic aspects but the way we structure our chord progressions is also important.
In this lesson we create a solo piano arrangement of a
the ballad ‘You Must Believe In Spring’, written by Michel Legrand.
We’re introduce some bigger voicings and cover some interesting examples of altered harmony and upper structure triads.
Instead of playing everything as a single linear rhythmic pattern, we will demonstrate of combination of subdivisions of quarter note.
In this 5 minute masterclass we will break down 3 bebop lines over a basic 251 progression in the key of Bb Major.
We will examine the minor line cliche in the A Sections and then discuss the use of suspended chords in the bridge of the tune.
In this masterclass we’re going create a walking bass line over the tune “Softly As In A Morning Sunrise”. Download the PDF bass line file.
We start with simple two-handed voicings and then create interest by adding in upper structure triads, block chords & chord substitutions.
Spend some time to work these chords and progressions, and once you feel comfortable you can move onto the main 32 bar form of the tune.
Steve’s own composition; The Duwamish River empties into the Puget Sound – the birthplace of the city of Seattle – a city that Steve dearly loves.
In Part 1 we run through the first half of the tune. We start with simple voicings and then create a more modern sound using chords built from 4ths.
In this lesson we will explore the tune “Agua De Beber” written by Antonio Carlos Jobim and the lyrics written by Vinicius de Moraes.
One of Americas greatest ballads… the most famous version of My Foolish Heart is undoubtedly the Bill Evans trio version.
Most jazz standards that you come across will contain a 251 progression in some form so it is essential that you know how to construct the 251.
Most often played as a ballad, this is a great tune to incorporate bluesy licks and riffs. It’s written in the key of Eb Major and has an AABA form.
My Romance follows a 32 measure A-B-A-C form and the tonality is primarily major. The tune is played as a ballad or medium swing feel.
All The Things You Are has been widely recorded so it’s definitely worth listening to as many versions as you can to get some creative ideas and inspiration.
In this lesson we will explore the interesting colours & textures that can be accessed over dominant chords using upper structure triads.
In this section of the tutorial, we will play all of the elements of Bossa Nova which is the bass line, syncopated chords, and finally the melody on top.
In part 2 we will now work on our 7th chords and fills and talk about simple ways to make this tune jazzier like the Ella version.
The tune is most commonly played in the key of C. We reharmonise the changes to create a rich and harmonically complex arrangement.
Let’s use the notes of the minor blues scale, the major blues scale and the extended blues scale to create different types of blues licks of riffs.
One of the best ways to learn a piece of music is to first learn how to accompany it. This tutorial demonstrates using the tune “Corcovado”.
In this lesson we will look at a tune by one of the exponents of the Bossa Nova movement – Carlos Lyra – called “Você e Eu”.
In this lesson we’re going to look at another composition by Carlos Lyra called “Lobo Bobo”.
We explore the different gospel playing styles of the same hymn “Pass Me Not O Gentle Saviour”. We discuss meters and accompanying a soloist.
In this lessons we will explore some important right hand principles and techniques to create that authentic New Orlean piano sound.
In part 3 of “What Are You Doing The Rest Of Your Life” we will explore some alternative ways that we can play through the A section.
In this short masterclass we look at three lines that you can use over the 1, or tonic chord in a 251 and other common chord progressions.
We explore ways that we can add variety by utilising the different registers of the piano. We’ll also add in some interesting chord reharmonisations.
In this lesson Jovino presents a beautiful solo piano arrangement and applies some interesting chord voicings and harmonic principles.
The tune follows a standard 32 bar AABA form and there is also a 24 bar introduction which we are going to include in the arrangement.
We will cover with some useful drawbar registrations that are commonly used in jazz organ for right-hand soloing and improvisation.
In part 2 of this jazz standard tutorial we explore some interesting quartal voicings for 251s and also apply pentatonic harmony to the chord changes.
In this lesson we’re going to create a solo piano arrangement of the song “I Loves You, Porgy”, written by George and Ira Gershwin.
We start this lesson by applying a stride style in the left hand with some bluesy licks and riffs in the right hand.
In part 2 we create a full solo piano arrangement incorporating big 2 handed voicings, suspended chords, altered dominant chords and USTs.
Sophisticated Lady is a challenging tune for the beginner. The descending sets of dominant chords in the A section are tricky to navigate at first.
The catchy melodic motives, complex chord progressions and unusual key changes make Body & Soul a favourite amongst most jazz musicians.
When we look at the written score, we see music moving from left to right. This is a very linear way of perceiving music.
This song is sooo sweet and so old. Written in 1930 by Hoagy Carmichael and Stuart Gorrell. There are endless versions and interpretations.
In this masterclass we’re going to create a bass line over the song Take The A Train, by Billy Strayhorn.
‘Somewhere Over The Rainbow’ has also been played by many great jazz musicians over the years. In this lesson we create a solo ballad arrangement.
Practice accompanying Lyndol on the tune “Autumn Leaves”. The track has 3 repeats giving you an opportunity to solo over the chord changes.
“Spann’s Stomp” follows the 12 bar form which we explored in the earlier lessons. We are going to play the tune in the key of C.
Jobim and his musical partner Vinícius de Moraes wrote this song about a beautiful girl who walked past them on her way to the beach every day.
‘You Don’t Know What Love Is’ follows an A1 – A2 – B – A2 form and the tonality is primarily minor throughout which gives the tune a dark and melancholy vibe.
The Brazilian singer, songwriter and guitarist – Joao Gilberto – created a Bossa Nova interpretation of Estaté which made the song famous worldwide.
We create a beautiful ballad arrangement and then we apply upper structure triads and some interesting applications of drop 2 harmony.
In this lesson we will look at a composition by Antonio Carlos Jobim called “Brigas Nunca Mais” with lyrics by Vinicius de Moraes.
This lesson provides an introduction to reading lead sheets. Unlike traditional piano music, lead sheets just contain one stave of music and chord symbols above.
In part 2 of this tutorial, we are going to explore the bridge of the tune and then add some melodic interest for the final A section.
In this lesson, we explore extended and altered harmony, upper structure triads, and some interesting applications of diminished chords & harmony.
In this part of the tutorial we will study the construction of improvised introductions and endings using common jazz chord progressions.
In this lesson we will learn some techniques for creating improvised solos and we will explore how we can build our melodic improvisations.
Joe Zawinul’s ‘Midnight Mood’ is a 24 measure A-B tune. The form is repetitive which creates the opportunity to and add some interesting chord substitutions.
We will start of by creating a ballad arrangement and add in some interesting reharmonisations and passing chords. In part 2 we create an up-tempo version.
In this masterclass we look at using chord tones rather than scales as the basis for creating improvised lines.
‘The Shadow Of Your Smile’ follows a 32 measure AB form. In this lesson we are going to play it as a ballad to learn the chords and changes.
In this final part of the My Romance tutorial, we explore how to create an improvised introduction using parts of the melody for inspiration.
We start with simple voicings and then add in extensions, alterations & embellishments to add interest to the repetitive chord changes & melody.
In addition to a full arrangement, we also cover the 4 bar introduction which is heard in the famous Nat King Cole recording of this tune.
Welcome to this 2nd lesson of “Georgia on my Mind”, for the accompanying pianist, or the singing pianist.
This play-a-long track is sung “freely” without a steady tempo. This exercise trains us to follow the lead of the singer and support the vocals.
In this lesson we look at the samba tune by Marcos and Paulo Sergio Valle Os Grilos.
You will immediately notice that this tune does not follow the standard 12 bar blues form that we have covered earlier in this course.
We discuss blues in jazz, looking at the jazz blues, 8 & 16 bar blues, the blues with a bridge, the Parker blues, and the minor blues.
In this lesson we will create a solo piano arrangement of “All of Me”, written by Gerald Marks and Seymour Simons.
“Straight no Chaser” is most often played in the key of F. Its very closely related to the standard jazz blues so learn that progression first.
“Wave” is a song that Jobim composed whilst in the USA. According to Jobim, the song was written as a ‘love letter’ to his hometown of Rio de Janiero.
Play along with Lyndol voice over the tune “Summertime”. This is a slow version with a ballad feel where Lyndol sings the tune at 80bpm.
In this lesson we learn the basic shout music movements in gospel. We also look at rumble cadences which can be played under the preacher.
Much of the tune is made up of the 1625 progression. We will explore how we can use this progression to create an improvised introduction.
Written in Eb, Skylark follows a 32 measure A-A-B-A form. We’ll start the tune with some simple voicings, and then add subs and reharms.
Written in the key of F Major, Autumn in New York is most often played as a ballad and it follows a 32 measure A1-B-A2-C form.
We apply all of the concepts that we have covered so far in the course including bass lines, voicings, melodic decoration, and turnarounds.
Welcome to this vocal piano tutorial on “My Funny Valentine” – a very popular standard, not only in the jazz world, but all genres.
The tune follows an AABA form with a 16 bar B section which makes the tune 36 bars long. It’s often played a fast tempos with a syncopated swingin’ feel.
In part 2 of this tutorial we up the tempo and play the tune with a swing feel. We further explore passing chords and the 4 way close.
For the first lesson in this practice series, we will explore some useful drills and exercises for practicing major and minor 9th chords.
Beautiful Love is commonly played as both a ballad and as a medium to up-tempo tune. In this lesson we create an arrangement for both of these styles.
For the first time through the form we play simple voicings and for the 2nd chorus we add some interesting fills and reharmonisation.
Augmented chords and scales have become great tools for jazz piano improvisation allowing us to add interesting colours to basic harmonies.
In part 2 we create a full solo piano arrangement incorporating chord extensions, suspended chords and altered dominant chords.
In this short masterclass I’m going to show 3 simple ideas for comping over a major 251 that you can practice, modify and add to your own playing.
In this lesson we will create a solo piano arrangement of “How High the Moon” written by Nancy Hamilton and Morgan Lewis.
In this lesson we create an arrangement for the tune “Insensatez” by Antonio Carlos Jobim. This tune is also known as “How Insensitive”.
In this lesson we are going to explore the Wynton Kelly recording of the tune “Sassy” which is a 12 bar blues in the key of F.
Identify places in the form where the melody rests. As the accompanist, it’s our role to fill in this space with harmonic & melodic support.
In this lesson we will learn how to accompany a gospel singer for a vocal solo using the well-known church hymn “Precious Lord”.
We apply left hand voicings, two handed voicings and look at ways we can voice the vamp for the intro and outro to the tune.
Preciously, we have just explored swing 8th-notes and triplets. In this part of the solo, we explore Wynton Kelly’s use of 16th-note lines.
In this lesson we’ll look at the structure of 12-bar blues and explore some of the embellishments we can apply to the chord progression.
In this lesson we explore the verse of the tune “My Funny Valentine” for the singing pianist, or the pianist accompanying a singer.
We arrange the blues tune in the key of F and we explore a wide range of common passing chords, substitutions, and reharmonisations.
We’re going to stack the chord tones sequentially in thirds, playing the 7th chord in our left hand, and the 9, #11, and 13 in our right hand.
This is a simplified foundations practice guide which focuses on the most important theory areas needed to progress onto the next courses.
‘I Fall in Love To Easily’ has a very short form at just 16 measures. It’s a great tune for applying altered and suspended harmony.
Learn to play “Triste” for solo piano performance. We explore chord voicings, accompaniment, reharmonisations, and improvisation.
In part 2 of this tutorial we look at some interesting passing chords using altered dominants & approaching the target chord from a half step above.
Winter Wonderland follows an AABA Form and is a beautiful tune to get into the festive mood. Enjoy this fantastic ballad arrangement!
In this short masterclass I’m going to show 3 simple ideas for comping over a minor 251 that you can practice, modify and add to your own playing.
This tune has been recorded by many great jazz musicians such as Art Tatum, Hank Jones, Kenny Barron, and Chet Baker.
In this lesson we will create a solo piano arrangement of “Smoke Gets in Your Eyes” written by Jerome Kern and Otto Harbach.
We start by playing through the form with left hand voicings and then create some bigger 2 handed voicings for the 2nd time through.
In this lesson we create a full solo piano arrangement incorporating chord substitutions and reharmonisations and advanced jazz theory.
Stella by Starlight is one of the most famous songs in the jazz repertoire and any serious jazz musician will know the chord changes to this important tune.
We dig deeper into Barry Harris voicings. If you’re not familiar with the subject, check out the other lessons on Barry Harris voicings.
Here’s That Rainy Day is a jazz ballad composed by Jimmy Van Heusen. Written in the key of G Major, the tune follows a 32 measure A-B form.
This whole step 251 drill will ensure that you are comfortable with the 251 progression in all keys using simple root, 3rd, and 7th voicings.
We start this lesson by discussing the tune’s form and then we highlight the repeated 1625 progression that appears throughout the chord changes.
We have explored major, minor, and dominant chords, now it’s time to put them all together in the most common progression in jazz; the 251 progression.
We incorporate all of the theory and material covered in the prior lessons in this course and then analyse each aspect of the performance.
We explore Jon’s composition “Moonburn”. For this arrangement we play the piano in the same way that we would play a clavinet in a funk band.
Learn some important improvisation principles over the tune “Triste” and listen to iconic Elis Regina recording with Jobim on piano.
In this lesson we will create a solo piano arrangement of “What Is This Thing Called Love”, written by Cole Porter in 1929.
You should now be familiar with the form, the melody and the chord changes. We will now explore the stylistic aspects of how the tune is commonly played.
The benefit of splitting your practice time into small chunks, is that in just 1 sitting, you can cover a wide selection of different theory topics.
In this lesson we explore how to create introductions for tunes and jazz standards written in minor keys.
Cole Porter’s Easy to Love is a very accessible jazz standard for beginners as you will be familiar with most of the chords and progressions in the tune.
In this lesson we explore the 1625 progression and it’s variations to create and intro and outro for the tune “Blue Moon” by Richard Rodgers.
Learning chord voicings is an important skill for the jazz pianist. In this lesson we cover a 5 step process for learning any chord voicing.
Professor Longhair’s “Go To The Mardi Gras” is a perennial carnival tune and on Mardi Gras day the song is played all over New Orleans.
In this tutorial we will create a solo piano arrangement of “A Child is Born”, written by Thad Jones in 1969 with lyrics added later by Alec Wilder.
We will work on our recognition of major 9th, minor 9th, & dominant 13th rootless voicings using a left hand stride drill.
Stella by Starlight is one of the most famous songs in the jazz repertoire and any serious jazz musician will know the chord changes to this important tune.
The tune is written in ¾ so it’s played with a waltz feel. We interpret some of the tune quite freely, in particular in the introduction and the ending.
In this 5-minute masterclass we talk about the 4 minor chord and its role in jazz harmony, as well as classical and pop music.
In this lesson we will create the major 251 progression with a left hand stride and rootless voicings exercise and drill.
In this lesson we will be exploring the major 251s with b9 and #5/b13 alterations. This will help you visualise alterations in all 12 keys.
One of the intricacies of minor harmony is the variety of colours and tensions we can add to the chords in the minor 251 progression.
We will explore a number of drills to familiarise ourselves with the sound, colour, and texture of the #11 chord alteration.
For practice slot 4, we will take a simple chord tone line around all 12 rootless major 251s. Follow this process to learn to improvise.
When we play a minor 251 progression, the 5th, the 13th and 9th will usually be altered by moving them either up or down a half step.
In this lesson we introduce another simple line based on chord tones and arpeggios and play this over the minor 251 in all 12 keys.
In this lesson we drill UST 2 and UST 6 around all 12 keys. Both USTs contain a natural 13 which makes them related & interchangeable.
When we are learning to improvise, we must take lots of little ideas from our favourite recordings and then transpose around all 12 keys.
In this lesson we explore the b9/#11 and #5#9 upper structures. We apply to major 251s and in context of 2 well-known jazz standards.
We use this final practice slot to drill around all 12 minor 251 voicings with the b9#11 and the #5#9 upper structure triads.