LESSON 1: Hearing the Big 5 Chords in 5ths

In this video lesson, I introduce you to the concept of playing all of your chords in 5ths instead of the more common thirds. In other words, most people practice their chords by playing 1-3-5-7.

This is still the most common way to practice the chords, but I have found from personal experience that there are huge ear training benefits achieved by practicing the chords in 5ths: 1-5-3-7.

This approach lets you first hear the main notes that the bass player would play – the root and fifth, and then you’ll hear the “color” notes of the chords which are often used in a pianist’s two-note voicing – the 3rd and the 7th.

Practicing the chords in this way will be a breath of fresh air for your ear and pay huge dividends with fresh ideas for soloing and improved technique from playing these larger intervals on the horn.

Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Identifying Approach Notes

In this video lesson, I reveal an important stylistic element used in the creation of many bebop licks and phrases – approach notes. I used to refer to these as “double-lower” or “double-upper” neighboring tones, but these days, most people just call them “approach notes.”

They’re basically chromatic upper and lower neighboring tones that highlight the arrival of a chosen chord tone. I use the dominant 7th chords from my Hip Licks book to reveal where and how I use this device. In the video, I circle the approach notes in green.

Print out the page (included in the lesson) and take a highlighter and follow along by circling the approach notes on your printed page as you watch the lesson.

Includes PDF practice page of the licks used in the video lesson.

LESSON 3: Passing Chords for the Bridge of Rhythm Changes

This is a fun one! Have you ever heard pianists adding in lots of passing chords that are not on your chart, and wanted to jump in and play on those chords? In this video lesson, I share one of the most popular sets of passing chords used by pianists, guitarists and bassist when playing the bridge of rhythm changes.

Includes PDF practice notes for Bb, C and Eb instruments.

LESSON 4: Thoughts on Playing by Key Center – Driving Analogy

In this video lesson, I share my thoughts on playing by Key Center with a fun driving analogy that demonstrates my strategy for dealing with the chords as I create a solo.

LESSON 1: The Maj7b5 Chord Echo Game – Part 1 of 2

In this video lesson, I introduce you to the maj7b5 chord structure in the form of an echo game. This is one of my favorite chord structures. It has a fresh, clean sound because of the intervals created by the flatted fifth.

I first became aware of the structure when listening to Joe Henderson, but I’ve also heard many jazz pianists use it to create melodies and left-hand chord voicings. This chord structure is a musical breath of fresh air for your ear, which is used to hearing only major or minor thirds in arpeggios.

You might be tempted to write these chords out, but I recommend that you learn this by ear to really internalize this new sound on a deep level.

LESSON 2: The Maj7b5 Chord Echo Game – Part 2 of 2

In this video lesson, I take a concert Cmaj7b5 chord structure and show you how to place it over multiple harmonic settings.

I explain how to use the maj7b5 structure as upper extensions when practicing your chords on the saxophone. Be sure to check out the “Dr. Jeckyll / Mr. Hyde” analogy with the chord at the 5:30 mark in the video.

LESSON 3: The Maj7b5 Chord – Piano Perspective

In this video lesson, I work with the maj7b5 chord at the piano to help you hear the structure clearly in terms of piano voicings over six different chords.

I explore the intervals used in the structure and also explain the piano voicings commonly used with this chord structure.

Includes PDF practice notes for Bb, C and Eb instruments.

LESSON 4: Trading Choruses and Fours on Satin Doll with Greg

When I grew up in Chicago, I learned so much by sitting in at clubs and trading choruses and fours with the more seasoned players in town. I would try and pick up on the older player’s “vibe” and sometimes continue his idea. It was like we were having a musical conversation.

I wanted to share some of that old-school approach with you in this video lesson. I’m accompanied by world-class pianist Judy Roberts. We play Satin Doll and you can trade choruses and 4’s with me. This is a really fun one! Don’t look at any chords. Use your ear. Watch me and listen and trade with me when it’s your turn. Try to really stay in the moment with me and Judy as we play this classic tune.

LESSON 5: Lessons from the Bandstand – John Young

In this video lesson, I share a story about working with the legendary Chicago pianist, John Young. This is a valuable real-world lesson about listening and interacting with the players on the bandstand.