In just 45 minutes, you can revolutionize your understanding of THE HARMONIC LANGUAGE. Learn how chords are created, what notes they contain, how they’re named, and how they’re used to evoke emotion and make music come to life. Quickly gain harmonic mastery and confidence which will set you apart as a composer or improviser.
Category: Music Education K-12
Pres says, “Sing me a song!”
Let’s face it, we all want monster chops. There are some great books out there to help develop technique. I work constantly on mastering lix in all 12 keys, but I never play those lix on the gig. That’s not their purpose. The reason for practicing lix is to enhance your facility on the horn and expand your musical vocabulary.
But some of those lix get so obscure, I can’t even tell if I’ve made a mistake in transposing the lick to a new key. That’s when I know the lick is too obscure!
I just got a killer deal on a great classic clarinet mouthpiece. That inspired me to do some long overdue clarinet shedding. I was trying to come up with a lick that felt melodic, one that would swing and sound lyrical, as opposed to clinical.
Let me know what you think of this one.
To see the chart for this lick in all 12 keys, press the “Continue Reading” button.
Stan Getz Solo From “O Grande Amor”
Looking for a refreshingly novel approach to playing over a minor ii-V-i ? Here’s an idea by Stan Getz. It’s from bars 15 & 16 in the first chorus of his solo over “O Grande Amor” from “The Stockholm Concert.”
B flat instruments start at line 1. Concert key instruments start at line 3, and E flat instruments start at line 12. (Double back to the beginning when you reach the end of the chart.)
Stan Getz: A Brief History, An Appreciation
The vast recorded legacy of legendary tenor saxophonist Stan Getz still astounds the jazz community. Here it is in words and music. From his earliest days with Jack Teagarden, Stan Kenton, Benny Goodman, and Woody Herman to the phenomenal smash hits “Desafinado” and “The Girl From Ipanema” (which sparked the 1960’s bossa nova craze), to his sublime later work with pianist Kenny Barron, Stan Getz continued to galvanize the musical world with his unparalleled technique, unmistakably unique sound, and gorgeous lyricism. Take a tour with us of this amazing 40-year jazz odyssey.
Click on this link to see and hear more: https://youtu.be/pIDS5x7leYI
The Chord Committee
Many, many thanks to everyone who volunteered for The Chord Committee. Numerous excellent solutions have been proposed. In order to avoid discord, I have combined all of your suggestions into one beautiful, majestic chord. In hopes you will find the solution acceptable, the chart and recording are presented here for your approval. (Click on “continue reading” to view the complete chart.)
The Lost Chord
Andy and i were playing this lick the other day.
Andy asked with which chord this lick could be used. I had no answer. Do you?
Hanon 61 For Piano
Although i am just a lowly jazz saxophonist, it is important for all of us musicians to have a working knowledge of piano. So i found an excellent teacher, Dawn Martin, who is really excellent at helping undo my bad habits which cause muscle strain. Two areas that particularly stymie me are:
- Skips of an octave or a major seventh
- Quickly returning the five fingers into the new position after a large skip
The 60 Hanon exercises are awesome, as is working through the 12 major scales, two hands, three octaves. I wrote the exercise below to help with the problems described above. For lack of a better name, i call it “Hanon 61.” Maybe it will help you as well. (Press “CONTINUE READING” below to see the chart.)
Got Improv?
You can learn how to improvise like a professional jazz musician! Watch this video to see how you can begin the exciting journey towards becoming a jazz improviser.
Fats Waller & Arpeggios
Mastering arpeggios gives you yet another tool to use (in moderation) in your improv solos.
Have you ever tried playing Fats Waller’s great tune “The Jitterbug Waltz”? Find it on Rahsaan Roland Kirk’s “Bright Moments” album. Mastering arpeggios will make that tune much easier to play.
Here’s a challenging and interesting way to master arpeggios. The idea for this exercise was suggested to me by a warm-up my talented friend Al Thompson often uses.
Click on “continue reading” for a complete chart.
Bonfa, Jobim, and Bossa Nova
Brazilian bossa nova’s introduction to the U.S. thanks to composers Luiz Bonfá (Samba de Orfeu and Manhã de Carnaval), Antônio Carlos Jobim (Desafinado, Girl from Ipanema, Corcovado, etc.), and instrumentalists João Gilberto and Stan Getz literally transformed the jazz landscape overnight.
For the past 50 years, casual straight-ahead jazz gigs have invariably featured at least one bossa per set.
Familiarity with the following exercise will greatly enhance your facility with the melodic and harmonic nuances found in these wonderful compositions. Here is the basic lick:
Here is a recording of the lick played in all 12 keys:
Develop your ear to flawlessly play passages such as this one in all 12 keys by downloading and working through “New Ears Resolution.”
TEST YOUR EAR!
You’ll ace this one, if you’ve played through “New Ears Resolution.” If not, it may be tricky.
Below is a recording of the pattern in all 12 keys. Submit a “comment” at the bottom of this post, if you need a chart to play along with the recording.
Note that this phrase traverses the first five chords of the standard “Someday My Prince Will Come,” a long-time staple of Miles Davis’s book. That “harmonic quote” was not intentional. When you start creating patterns in a “stream of consciousness” manner, elements of your repertoire tend to crop up in various guises.
Multi-instrumentalist Kevin McCartney recently taught me about the ebb and flow of tension and release created by Cuban clave patterns. In this exercise, the many accidentals create a bit of harmonic tension, which is then released through resolution to adjacent diatonic notes. Note in particular the tension created by Si, Di, and Le.
Upon further reflection today (during surgical anesthesia!), it occurred to me that this phrase uses all 17 notes in the scale: the 7 diatonic pitches, the 5 sharps, and the 5 flats. For a horn player, G# and Ab are identical. However, a symphonic violinist thinks of them quite differently.
What you hear in this recording is actually 5 clarinets. Took me about 20 takes to get 5 usable ones.
Dig Jimmy Heath!
Jimmy Heath is another master with whom I hope to become more familiar.
Driving into a glorious autumn dawn on the way to church Sunday, I was listening to “Picture of Heath” and was particularly struck by the third chorus of Jimmy’s soprano solo on “All Members.”
I don’t usually go to the trouble of formally transcribing solos, since there are so many fine transcriptions available on-line. But Jimmy’s third chorus really knocked me out, and i felt compelled to examine the strategy, structure, and logic of this amazing 12-bar chorus. Continue reading “Dig Jimmy Heath!”
Mastering Modulation
Have you ever ridden on a roller coaster blindfolded? That’s how it feels to improvise without understanding internal modulation. It’s like driving through a thick London fog. Progress is halting, movements are uncertain and tense.
By contrast, the player who understands how to navigate key changes improvises smoothly and confidently.
This month, we learn to recognize an internal modulation and craft an effective response. Continue reading “Mastering Modulation”
Diatonic Chords
Last month, we looked at the major scale, which has been foundational to Western music for 400 years. Each of the 7 notes in that major scale can function as the root of a diatonic chord. A basic understanding of those 7 chords will greatly improve your ear and your improvisatory skill, so let’s focus on them this month. Continue reading “Diatonic Chords”
Developing Hand – Ear Coordination
Do you want your improvised solos to soar and delight your audiences? The first and most important step to achieve this is to develop the link between your ears and your fingers. In fact, ultimately we need to be able to transfer any musical idea we imagine to our fingers. I call this “Hand-ear coordination”.
What is “Ear Training”?
It is a thrilling moment when a musician first experiences the freedom of playing without reliance on the printed score. To be able to play a melody by ear or to spontaneously create an improvised solo never before heard provides joy not to be missed by the player committed to musical excellence.
RIPPING RIFFS OR MEMORABLE MELODIES?
Craig wrote this article for the February, 2016 issue of Saxophone Life Magazine. It appears here courtesy of SLM.
It’s definitely impressive to hear jazz musicians improvise at incredibly fast tempos. What is, however, far more inspiring is hearing how the great masters are able to create beautifully crafted, swinging melodic lines, regardless of tempo. Continue reading “RIPPING RIFFS OR MEMORABLE MELODIES?”
Learning to Play by Ear: A 1958 Perspective
How does a musician learn to perform thousands of songs in any key without looking at music sheets? How can you improvise over a set of “changes” you’ve never heard or seen before in a live performance? “New Ears Resolution” has made this a daily reality for me during a 40-year career of recording dates and live performances. But I cannot claim to have created this revolutionary approach to ear training. I learned it during high school while studying with Alvin L. “Al” Learned, founder and president of Hollywood’s legendary Westlake College of Music “one of the most important educational institutions for the study of jazz in the post-World War II era.” Continue reading “Learning to Play by Ear: A 1958 Perspective”
Jazz Articulation, Accents, and Proper Tonguing
Some saxophone & clarinet students have difficulty with jazz articulation, because they have not learned to tongue properly. They begin each note with a constriction in the throat, which sounds as if the student were humming into the mouthpiece. The beginning of the note is fuzzy and indistinct. Continue reading “Jazz Articulation, Accents, and Proper Tonguing”
How to Learn Songs
Is there a more effective, efficient method for learning and retaining a large repertoire of jazz standards? Continue reading “How to Learn Songs”
Dominant Seven Flat 9 Chords V7(b9)
One of the features that makes a minor key sound so rich is its V7(b9) chord illustrated below as a V-I in the key of A minor. 
The exercise shown below will greatly increase your familiarity and confidence in improvising over this lovely chord. Continue reading “Dominant Seven Flat 9 Chords V7(b9)”
HOW I LEARNED TO PLAY BY EAR
Even many accomplished musicians never learn the fine art of playing by ear. A strong ear is a “must” for those of us musicians with visual disabilities. I owe my ear to a uniquely inspired teacher. The story begins in 1963. Continue reading “HOW I LEARNED TO PLAY BY EAR”
Do You Enjoy Practicing Scales?
How often do we teachers hear students complain about having to practice long tones and scales? Every teacher knows that long tones greatly enhance tonal quality and intonation and that scales are the raw material from which improvised solos are crafted. The problem is that any musician who practices being bored will bore the audience. What you practice is what you perform. Practice joy, imagination, and freshness, and your show will be fresh. Practice dry technique, and your gig will be a desert.
Below is a 4-bar phrase containing a descending major scale (Ionian mode) and an ascending Mixolydian mode. I worked on this exercise until the rhythm and note sequence started to feel interesting to me.
Try playing along with the background track provided below and see if this approach adds a bit of zest to your practice time. Develop your own variations on this idea. Email me for a FREE copy of this exercise in all 12 keys, if you have trouble figuring it out. Better yet, download “New Ears Resolution” and learn how to play any melody in any key by ear.
Improvising Using Skips
Are your improvisations based more on the chord changes (Coleman Hawkins approach) or on the melody (Lester Young approach)? Many players look at the chord progressions and derive either arpeggios or scale patterns based on the indicated changes. Here is an exercise that will develop your ability to integrate larger leaps into your melodic flow.
To derive the maximum benefit, practice this pattern in all 12 keys around the circle of fifths using the background track provided below. If you have difficulty figuring out the pattern in the other keys, contact me for a FREE chart (no cost or obligation). Better yet, download “New Ears Resolution” to learn how to play any melody in any key BY EAR!
A Jazz Lick From Bach? Yes Indeed!
A recent biography of jazz tenor sax giant John Coltrane verified that he had indeed studied the wonderful Bach Cello Suites. The suites, though quite challenging, are a joy to play, and they provide numerous opportunities to build your tone, technique, and conception. As it turns out, they also contain some amazing phrases which can be adapted as jazz improv “licks.” What do you think of this one? It’s from Bach Cello Suite Number 2, “Allemande,” bar 21. Play it through in all 12 keys (see chart below) and let us know whether Bach gives you ideas for your jazz improvisation.
Noted Guitarist Praises “New Ears Resolution”
This review of the Second Edition of “New Ears Resolution” was posted by the wonderful guitarist, singer, and educator Trevor Hanson http://trevorhanson.com/trevor/ . Trevor is highly respected for his work in both the jazz and classical fields and has a large following in Western Washington State.
- Basic concept: great. The basic concepts and the way you have organized their presentation are very useful. You have many good insights and analogies to help get students on board, even if they have had little formal training. There’s no question that moveable-do solfege is a tremendous learning aid, and you’ve done a good job at making it accessible and understandable. The early parts of your presentation assume that the reader has little or no background in music theory.
- Combining essential skills in small lessons. By combining ear training, scale/harmony theory, and repetition and presenting the material in small, easily manageable chunks, you’ve provided an excellent framework for learning that doesn’t overwhelm the student. Many theory books cover this material in just a few pages – making it difficult for students to achieve a working knowledge of (and quick memory for) these essential elements.
- Familiar tunes as examples. Linking little phrases to familiar tunes is very helpful. This is how most of us recognize intervals, patterns, and progressions. By providing examples, you save students time, since recognizing a short quote is often difficult.
- Audio files. Listening to and playing along with the audio files is a huge advantage.
- Scale/chord material. Your presentation of the scale modes is very good. I really like the clear examples showing how each mode can be derived from the Ionian, the examples showing how each modal color can be used, and the charts/audio exercises that contrast these elements. I found your discussion of Locrian m7(b5) and Phrigian sus(b9) even more useful. I ran out of time before getting a chance to look at Bill Green’s approach to the blues scale and V7#9#5 chord, and am looking forward to examining this section. These are all really important topics that most musicians just have to figure out by experimentation. You have provided a logical starting point for studying these elements.
Sincerely,
Trevor Hanson
www.TrevorHanson.com
Combining the Blues Scale With the Minor Scales
There is a lot of talk in improvisation texts about the three minor scales (which start on LA), the Dorian mode (which starts on RE), and the blues scale (which can begin on either one). However, the reality is that master jazz improvisers glide freely between all five scales with additional nuances interspersed. Below is a lick to illustrate this principle. Listen to the mp3 recording while looking at the chart. Try practicing this lick in all 12 keys. If you have difficulty, try slowing it down or looping the hard section with the FREE DOWNLOAD Best Practice. Or contact me for a FREE chart of the lick in 12 keys by filling in your email below. Your address will NOT be used for any other purpose, and it will NOT be saved. Better yet, if you want to learn to play jazz by ear, download New Ears Resolution.
You Can Learn to Play by Ear with “New Ears Resolution”
New Ears Resolution has helped hundreds of musicians learn to play by ear over the past 15 years. And now, the Second Edition offers scores of new innovations designed to make your learning experience more enjoyable, effective, and thorough.
Download “New Ears Resolution” for just $9.99. Click here.
Whether you work with a jazz combo, rock group, or big band, or just play for your own pleasure, “New Ears Resolution” will help you become the musician you have always wanted to be.
I’ve taught this method for years and have used it in my own performances. I’ve researched extensively in order to improve its design and have thus developed a comprehensive approach to the art of playing by ear.
HOW IS “NEW EARS” DIFFERENT FROM OTHER METHODS?
Continue reading “You Can Learn to Play by Ear with “New Ears Resolution””
Don’t Just Practice Dry Technique: Practice Full Engagement With Your Music!
Here is an enjoyable (though challenging) way to practice the harmonic minor scale. Continue reading “Don’t Just Practice Dry Technique: Practice Full Engagement With Your Music!”
Cannonball Adderley: The Way You Look Tonight
Cannonball Adderley’s solo on “The Way You Look Tonight” is an amazing tourdeforce! He blazes through an entire chorus in 53 seconds. But, if you play this solo** at half speed, it is as melodic as a Johnny Hodges invention. Played in concert F, it is written for alto sax in D major. In this key, the bridge modulates to F major. However, the wonderful phrase shown below actually begins in G minor and ends in F major. Try playing this lick in all 12 keys. It works well over a II-V change. If you cannot figure it out on your own, email me for a free chart of the lick in all 12 keys. 
** This solo is found in “The Julian Cannonball Adderley Collection” edited by Tim Price, published by Hal Leonard.
CRAIG BUHLER JAZZ 