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ELEMENTS OF STYLE

Module 45


LESSON 1: Tools of the Composer – Jerome Kern’s “I’m Old Fashioned”

In this video lesson, I share my interpretation of a very powerful editing device used by Jerome Kern on the bridge of his famous standard, “I’m Old Fashioned.”

Kern takes something that would have been a very ordinary scale two-note pattern in thirds and transforms it into a memorable melody by editing out one of the notes in the pattern. T

his lesson explores this editing technique and shows you how to apply the concept in your own playing. Includes PDF practice notes for C, Bb and Eb instruments.


LESSON 2: Tools of the Composer – Antonio Carlos Jobim’s “One Note Samba”

In this video lesson, I share my interpretation of Jobim’s use of common tones in the melody over the first four measures of his hit song, “One Note Samba.”

Jobim uses what I call “dual citizen notes” (common tones) to bring out four different flavors from the same repeated note. He achieves this effect by maintaining a repeated pitch in the melody while the chords move downward in half-steps.

I explore this sound and share my approach to transfer this very cool sound to the saxophone. Includes PDF practice notes for Bb, Eb and C instruments.


LESSON 3: Maj7#5 Chords w/Echo Game

In this video lesson, I share my strategy to help a student to the first two chords on the bridge of the popular Brazilian tune, The Girl From Ipanema. I use two upper structures to bring out the sound of the progression.

The first is the very familiar mi7 chord. I use the mi7 chord over the maj7, acting as a 3-5-7-9. Then, I simply lower the root of the mi7 chord to achieve a maj7#5 chord shape. I use the maj7#5 chord shape as 7-9-#11-13 over a dominant chord.

While this may sound complex, it’s very easy for your ear to hear the musical logic of this approach. Includes PDF practice notes for C, Bb and Eb instruments. Echo Game starts at 7:48 into the video lesson.


LESSON 4: If You Can Hear It You Can Have It

In this video lesson, I share a story about a new Skype student who has a music degree and great reading skills, but his ability to play what he hears is not yet fully developed.

After speaking with him about his training, he revealed to me that his former teacher told him to never listen to the sounds in his head and instead, to play by memorizing numbers for the notes. This is contrary to what I learned from Joe Henderson, James Moody, Mark Colby, and all of the many incredible teachers who shared their knowledge with me.

I explain in the video that it’s not just about hearing the sounds, but developing your musical memory and improving your ability to focus on the music.


approx 30 min

Module 44


LESSON 1: Six Essential Items for Daily Practice 

In this video lesson, I discuss the importance of practicing each item on my practice planner. I developed this approach in my 20’s when I was practicing many hours each day. I experimented with many different approaches to practicing and found that these six items yielded the best results.

Many people get stuck practicing only scales or chords and never seem to get to other items like vocabulary, transcriptions, etudes, and tunes.

Includes PDF practice planner.


LESSON 2: Secret Applications for the Bebop Scale

In this video lesson, I share what I call the “secret” applications for the bebop scale. These are not the types of applications that you learn in school. In both my undergrad and graduate studies, there was no mention of these applications of the scale.

And yet, when I transcribed the masters, I found that they routinely applied the scale in this way when they wanted to get more harmonic flavor from the scale.

If you’ve ever been at a loss for how to use the bebop scale over a minor ii / V situation, this video will show you how to apply the scale like a seasoned professional.

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


LESSON 3: Creative Scale Practice

In this video lesson, I share a story about one of my Skype students who was very bored with his scale practice. He was in a rut, always playing his scales like a technical exercise, rather than finding the music hidden within the scales.

I showed him these creative practice strategies that I use in my own practice and he was instantly playing with more energy and creativity while also improving his musical memory and his instrumental technique.

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


LESSON 4: C.E.S.H. – What it is and How to Use it.

In this video lesson, I explore and explain C.E.S.H. The term was coined by one of my former teachers, the great Jerry Coker. It stands for “Contrapuntal Elaboration of Static Harmony.” Basically, it means that you apply voice leading to a chord within itself by moving the sevenths (and sometimes the fifths).

This is a common harmonic device used by all pro players. You’ll recognize it as soon as you hear it. I explain the device and break it down in a way that makes it easy for all levels of players to immediately use this in their solos. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Thumb Position for the Octave Key

In this video lesson, I discuss and demonstrate the importance of good thumb position on the saxophone. This topic is often overlooked. Over the years, I’ve taught many students who needed to correct bad habits with their thumb position. In some cases, students were experiencing pain from using the wrong position or from using too much pressure.

The left hand cannot operate with efficiency without an excellent thumb position, combined with a light touch. If you’ve ever had issues with left-hand technique problems or pain in your left hand or arm due to the octave key, this video will address all of those issues and provide a clear strategy to fix the problem.


approx 33 min

Module 38


LESSON 1: Scale Junction Navigation

In this video lesson, I share my method for connecting various types of scales through a ii V I progression. This is a critical skill for all improvisers, as it gives you the flexibility to switch smoothly from the scale of the current chord to the scale for a new chord Many players are limited in their approach with scales because they think that they need to start each new scale from the root.

This is how scales are often taught in academic settings, but my system shows you how to easily connect the scales through voice-leading, from any note, highlighting the strongest notes in every chord. INTERMEDIATE & ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb and C instruments.
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LESSON 2: Charlie Parker – Use of Bebop Ornamentation

In this video lesson, I analyze Parker’s use and application of bebop ornamentation. Bebop is an ornate style of jazz, sharing some similarities to baroque classical music in its use of ornamentation. Ornamental notes are what I describe as “sudden sixteenths” which are placed within an eighth-note line to add extra detail and sophistication to the line. In this lesson, I take a Parker phrase and break it down, removing all of the ornaments and then showing you how to use these concepts in your own lines, demonstrating with a line that I composed and then enhanced with the application of bebop ornaments in the Parker style.

INTERMEDIATE & ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Locating the 13th of a Chord

The thirteenth is one of the most colorful notes in a chord, and yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the thirteenth of any chord.

This lesson includes hearing thirteenths over: Maj7, dom7, mi7, mi7b5 and dim7 chords. Intermediate level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Mel Torme Swings Shubert Alley

One of my favorite albums! Mel Torme at the height of his powers with beautiful pitch, tone, phrasing, taste, and humor. Marty Paich, one of my favorite arrangers, has created an amazing collection of arrangements of popular standards.

I love his instrumentation and the inclusion of the tuba in this ensemble. The engineering is also incredible on this album. It’s like you’re right there in the studio with the guys. Paich is also quite humorous, having the band slyly quoting “Who’s Sorry Now” and “Easy Living” while Mel is singing the tune “Just in Time.”

The band is an all-star cast of top West Coast players at the time — Jack Sheldon on Trumpet, Frank Rosolino on trombone, Art Pepper on alto, Mel Lewis on drums…A must-have for any collection.


approx 38 min

Module 41


The Echo Game with Lick #1 Variations

In this video lesson, we’ll play the echo game, in which you will imitate or “echo” whatever I play. I have the metronome at 160BPM and play many variations on Hip Lick #1. Each of my demonstration phrases is one measure in length. You’ll have one measure to play the echo, by ear.

The video is divided into two parts. The first part of the video is intermediate level, with all variations on the lick remaining in the same key. The second half of the video takes all of the variations for the echo and puts the lick into the cycle, playing different variations in each of the twelve keys. This is an ear-training video designed to improve your musical memory. So, by intent, there are no PDF notes for this lesson. INTERMEDIATE & ADVANCED LEVEL.


LESSON 2: Stop Scooping Your Notes!

I think of this video lesson like a public service announcement for all intermediate level aspiring player. In my earliest playing days, I was a guilty of this as anyone. I thought it sounded “jazzy” so scoop into my notes. Wrong! Thanks to my old teacher Joe Daley, who told me in quite harsh terms, but really cured me of doing this, I found a better way, through Sonny Stitt, to get the effect of sliding into a note while maintaining the pitch center of the note.

This video demonstrates how it sounds when scooping and then how it sounds when applying the Sonny Stitt way of using a grace note from a 1/2 step below, to slide into a note. Totally hip. This is designed to be an ear-training lesson, as well, so there are no PDF notes with this one. INTERMEDIATE LEVEL.
No PDF materials for this lesson


LESSON 3: The Bad Toupee Theory – How to Blend Licks into a Solo

In this video lesson, I share what I call my “Bad Toupee Theory.” The basic idea is this: Nobody points to a guy and says, “what a great looking toupee!” They only say “look at that bad toupee on that guy!” If it’s a great looking toupee, you can’t even tell that the guy is wearing a toupee. It’s similar with licks.

You don’t want to make it obvious that you’re using licks. They need to blend into the musical surroundings. In this video, I demonstrate an obvious usage of a lick (bad toupee) and I also demonstrate a subtle way to use a lick, blending it into the development of the solo. Includes PDF lesson notes for Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL.


LESSON 4: Dealing with Practice Anxiety – How to Have Fun While You Practice

Recently, I’ve been hearing more and more from students of all levels who tell me that they’re constantly stressed out about practicing. They feel overwhelmed and anxious about the amount of musical material they need to master in order to move forward. I used to have these feelings, and it took me a long time to change my attitude and approach turn my practice sessions into really fun experiences. I

n this video lesson, I share my personal journey with you and give you some suggestions that, to this day really help me have fun in every practice session. BEGINNING, INTERMEDIATE & ADVANCED LEVELS.


 

approx 32 min

Module 39


LESSON 1: Locating the 9th of a Chord

The ninth is one of my favorite notes in a chord. To me, it always feels and sounds elegant and luxurious. And yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the ninth of any chord.

This lesson includes hearing ninths over: Maj7, dom7, mi7, mi7b5, and dim7 chords. Intermediate & advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.

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LESSON 2: Hearing a Hidden Melody within an Eighth-Note Line

In this video lesson, I will take phrase of all eighth-notes and reveal to you the hidden melody within that line. I use a short phrase from my etude, “Broadway Street” and deconstruct the line, revealing the melody that I had in mind. From there, I rebuild the phrase, adding an enclosure, approach notes to reconstruct the line.

This lesson provides insights into the compositional process involved in creating melodic eighth-note lines.

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


LESSON 3: High Speed Articulation with Halsted Street

In this video lesson, I share my strategies for increasing the speed and smoothness of your articulation when playing fast, consecutive eighth-notes. I use a short phrase from my etude, “Halsted Street” to demonstrate many different approaches to articulation.

The video also includes some discussion of extended articulation techniques, such as the “dooden” tongue and a demonstration of integrating the “dooden” tongue with the “ah-tah,” and staccato tonguing, all while keeping the phrase in tempo. INTERMEDIATE & ADVANCED level. Includes PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Oscar Peterson Trio: The Sound of the Trio

This is one of my all-time favorite recordings of the legendary Oscar Peterson trio, featuring Ray Brown and Ed Thigpen. This was recorded in the late 1950s in Chicago at the famous “London House,” a jazz supper club in downtown Chicago.

Artists would be “in residence” for their gig from one to three weeks at a time, playing between five and seven nights a week. This led to a wonderfully relaxed situation, where the artists could focus on the music, well-rested, without the fatigue of playing one-niters around the country.

I can hear the energy and communication present in every note of the album. You’ll even hear glasses clinking in the background. It’s like you’re right there in the room with the group. The record is also beautifully engineered by Val Valentin, for the Verve record label. A must-have for any serious collection.


approx 36 min

Module 37


LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.


LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.


aprox 27 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 37


LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.


LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.


aprox 27 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 39


LESSON 1: Locating the 9th of a Chord

The ninth is one of my favorite notes in a chord. To me, it always feels and sounds elegant and luxurious. And yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the ninth of any chord.

This lesson includes hearing ninths over: Maj7, dom7, mi7, mi7b5, and dim7 chords. Intermediate & advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.

.


LESSON 2: Hearing a Hidden Melody within an Eighth-Note Line

In this video lesson, I will take phrase of all eighth-notes and reveal to you the hidden melody within that line. I use a short phrase from my etude, “Broadway Street” and deconstruct the line, revealing the melody that I had in mind. From there, I rebuild the phrase, adding an enclosure, approach notes to reconstruct the line.

This lesson provides insights into the compositional process involved in creating melodic eighth-note lines.

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


LESSON 3: High Speed Articulation with Halsted Street

In this video lesson, I share my strategies for increasing the speed and smoothness of your articulation when playing fast, consecutive eighth-notes. I use a short phrase from my etude, “Halsted Street” to demonstrate many different approaches to articulation.

The video also includes some discussion of extended articulation techniques, such as the “dooden” tongue and a demonstration of integrating the “dooden” tongue with the “ah-tah,” and staccato tonguing, all while keeping the phrase in tempo. INTERMEDIATE & ADVANCED level. Includes PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Oscar Peterson Trio: The Sound of the Trio

This is one of my all-time favorite recordings of the legendary Oscar Peterson trio, featuring Ray Brown and Ed Thigpen. This was recorded in the late 1950s in Chicago at the famous “London House,” a jazz supper club in downtown Chicago.

Artists would be “in residence” for their gig from one to three weeks at a time, playing between five and seven nights a week. This led to a wonderfully relaxed situation, where the artists could focus on the music, well-rested, without the fatigue of playing one-niters around the country.

I can hear the energy and communication present in every note of the album. You’ll even hear glasses clinking in the background. It’s like you’re right there in the room with the group. The record is also beautifully engineered by Val Valentin, for the Verve record label. A must-have for any serious collection.


approx 36 min

Module 37


LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.


LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.


aprox 27 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 41


The Echo Game with Lick #1 Variations

In this video lesson, we’ll play the echo game, in which you will imitate or “echo” whatever I play. I have the metronome at 160BPM and play many variations on Hip Lick #1. Each of my demonstration phrases is one measure in length. You’ll have one measure to play the echo, by ear.

The video is divided into two parts. The first part of the video is intermediate level, with all variations on the lick remaining in the same key. The second half of the video takes all of the variations for the echo and puts the lick into the cycle, playing different variations in each of the twelve keys. This is an ear-training video designed to improve your musical memory. So, by intent, there are no PDF notes for this lesson. INTERMEDIATE & ADVANCED LEVEL.


LESSON 2: Stop Scooping Your Notes!

I think of this video lesson like a public service announcement for all intermediate level aspiring player. In my earliest playing days, I was a guilty of this as anyone. I thought it sounded “jazzy” so scoop into my notes. Wrong! Thanks to my old teacher Joe Daley, who told me in quite harsh terms, but really cured me of doing this, I found a better way, through Sonny Stitt, to get the effect of sliding into a note while maintaining the pitch center of the note.

This video demonstrates how it sounds when scooping and then how it sounds when applying the Sonny Stitt way of using a grace note from a 1/2 step below, to slide into a note. Totally hip. This is designed to be an ear-training lesson, as well, so there are no PDF notes with this one. INTERMEDIATE LEVEL.
No PDF materials for this lesson


LESSON 3: The Bad Toupee Theory – How to Blend Licks into a Solo

In this video lesson, I share what I call my “Bad Toupee Theory.” The basic idea is this: Nobody points to a guy and says, “what a great looking toupee!” They only say “look at that bad toupee on that guy!” If it’s a great looking toupee, you can’t even tell that the guy is wearing a toupee. It’s similar with licks.

You don’t want to make it obvious that you’re using licks. They need to blend into the musical surroundings. In this video, I demonstrate an obvious usage of a lick (bad toupee) and I also demonstrate a subtle way to use a lick, blending it into the development of the solo. Includes PDF lesson notes for Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL.


LESSON 4: Dealing with Practice Anxiety – How to Have Fun While You Practice

Recently, I’ve been hearing more and more from students of all levels who tell me that they’re constantly stressed out about practicing. They feel overwhelmed and anxious about the amount of musical material they need to master in order to move forward. I used to have these feelings, and it took me a long time to change my attitude and approach turn my practice sessions into really fun experiences. I

n this video lesson, I share my personal journey with you and give you some suggestions that, to this day really help me have fun in every practice session. BEGINNING, INTERMEDIATE & ADVANCED LEVELS.


 

approx 32 min

Module 39


LESSON 1: Locating the 9th of a Chord

The ninth is one of my favorite notes in a chord. To me, it always feels and sounds elegant and luxurious. And yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the ninth of any chord.

This lesson includes hearing ninths over: Maj7, dom7, mi7, mi7b5, and dim7 chords. Intermediate & advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.

.


LESSON 2: Hearing a Hidden Melody within an Eighth-Note Line

In this video lesson, I will take phrase of all eighth-notes and reveal to you the hidden melody within that line. I use a short phrase from my etude, “Broadway Street” and deconstruct the line, revealing the melody that I had in mind. From there, I rebuild the phrase, adding an enclosure, approach notes to reconstruct the line.

This lesson provides insights into the compositional process involved in creating melodic eighth-note lines.

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


LESSON 3: High Speed Articulation with Halsted Street

In this video lesson, I share my strategies for increasing the speed and smoothness of your articulation when playing fast, consecutive eighth-notes. I use a short phrase from my etude, “Halsted Street” to demonstrate many different approaches to articulation.

The video also includes some discussion of extended articulation techniques, such as the “dooden” tongue and a demonstration of integrating the “dooden” tongue with the “ah-tah,” and staccato tonguing, all while keeping the phrase in tempo. INTERMEDIATE & ADVANCED level. Includes PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Oscar Peterson Trio: The Sound of the Trio

This is one of my all-time favorite recordings of the legendary Oscar Peterson trio, featuring Ray Brown and Ed Thigpen. This was recorded in the late 1950s in Chicago at the famous “London House,” a jazz supper club in downtown Chicago.

Artists would be “in residence” for their gig from one to three weeks at a time, playing between five and seven nights a week. This led to a wonderfully relaxed situation, where the artists could focus on the music, well-rested, without the fatigue of playing one-niters around the country.

I can hear the energy and communication present in every note of the album. You’ll even hear glasses clinking in the background. It’s like you’re right there in the room with the group. The record is also beautifully engineered by Val Valentin, for the Verve record label. A must-have for any serious collection.


approx 36 min

Module 37


LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.


LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.


aprox 27 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 38


LESSON 1: Scale Junction Navigation

In this video lesson, I share my method for connecting various types of scales through a ii V I progression. This is a critical skill for all improvisers, as it gives you the flexibility to switch smoothly from the scale of the current chord to the scale for a new chord Many players are limited in their approach with scales because they think that they need to start each new scale from the root.

This is how scales are often taught in academic settings, but my system shows you how to easily connect the scales through voice-leading, from any note, highlighting the strongest notes in every chord. INTERMEDIATE & ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb and C instruments.
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LESSON 2: Charlie Parker – Use of Bebop Ornamentation

In this video lesson, I analyze Parker’s use and application of bebop ornamentation. Bebop is an ornate style of jazz, sharing some similarities to baroque classical music in its use of ornamentation. Ornamental notes are what I describe as “sudden sixteenths” which are placed within an eighth-note line to add extra detail and sophistication to the line. In this lesson, I take a Parker phrase and break it down, removing all of the ornaments and then showing you how to use these concepts in your own lines, demonstrating with a line that I composed and then enhanced with the application of bebop ornaments in the Parker style.

INTERMEDIATE & ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Locating the 13th of a Chord

The thirteenth is one of the most colorful notes in a chord, and yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the thirteenth of any chord.

This lesson includes hearing thirteenths over: Maj7, dom7, mi7, mi7b5 and dim7 chords. Intermediate level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Mel Torme Swings Shubert Alley

One of my favorite albums! Mel Torme at the height of his powers with beautiful pitch, tone, phrasing, taste, and humor. Marty Paich, one of my favorite arrangers, has created an amazing collection of arrangements of popular standards.

I love his instrumentation and the inclusion of the tuba in this ensemble. The engineering is also incredible on this album. It’s like you’re right there in the studio with the guys. Paich is also quite humorous, having the band slyly quoting “Who’s Sorry Now” and “Easy Living” while Mel is singing the tune “Just in Time.”

The band is an all-star cast of top West Coast players at the time — Jack Sheldon on Trumpet, Frank Rosolino on trombone, Art Pepper on alto, Mel Lewis on drums…A must-have for any collection.


approx 38 min

Module 41


The Echo Game with Lick #1 Variations

In this video lesson, we’ll play the echo game, in which you will imitate or “echo” whatever I play. I have the metronome at 160BPM and play many variations on Hip Lick #1. Each of my demonstration phrases is one measure in length. You’ll have one measure to play the echo, by ear.

The video is divided into two parts. The first part of the video is intermediate level, with all variations on the lick remaining in the same key. The second half of the video takes all of the variations for the echo and puts the lick into the cycle, playing different variations in each of the twelve keys. This is an ear-training video designed to improve your musical memory. So, by intent, there are no PDF notes for this lesson. INTERMEDIATE & ADVANCED LEVEL.


LESSON 2: Stop Scooping Your Notes!

I think of this video lesson like a public service announcement for all intermediate level aspiring player. In my earliest playing days, I was a guilty of this as anyone. I thought it sounded “jazzy” so scoop into my notes. Wrong! Thanks to my old teacher Joe Daley, who told me in quite harsh terms, but really cured me of doing this, I found a better way, through Sonny Stitt, to get the effect of sliding into a note while maintaining the pitch center of the note.

This video demonstrates how it sounds when scooping and then how it sounds when applying the Sonny Stitt way of using a grace note from a 1/2 step below, to slide into a note. Totally hip. This is designed to be an ear-training lesson, as well, so there are no PDF notes with this one. INTERMEDIATE LEVEL.
No PDF materials for this lesson


LESSON 3: The Bad Toupee Theory – How to Blend Licks into a Solo

In this video lesson, I share what I call my “Bad Toupee Theory.” The basic idea is this: Nobody points to a guy and says, “what a great looking toupee!” They only say “look at that bad toupee on that guy!” If it’s a great looking toupee, you can’t even tell that the guy is wearing a toupee. It’s similar with licks.

You don’t want to make it obvious that you’re using licks. They need to blend into the musical surroundings. In this video, I demonstrate an obvious usage of a lick (bad toupee) and I also demonstrate a subtle way to use a lick, blending it into the development of the solo. Includes PDF lesson notes for Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL.


LESSON 4: Dealing with Practice Anxiety – How to Have Fun While You Practice

Recently, I’ve been hearing more and more from students of all levels who tell me that they’re constantly stressed out about practicing. They feel overwhelmed and anxious about the amount of musical material they need to master in order to move forward. I used to have these feelings, and it took me a long time to change my attitude and approach turn my practice sessions into really fun experiences. I

n this video lesson, I share my personal journey with you and give you some suggestions that, to this day really help me have fun in every practice session. BEGINNING, INTERMEDIATE & ADVANCED LEVELS.


 

approx 32 min

Module 39


LESSON 1: Locating the 9th of a Chord

The ninth is one of my favorite notes in a chord. To me, it always feels and sounds elegant and luxurious. And yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the ninth of any chord.

This lesson includes hearing ninths over: Maj7, dom7, mi7, mi7b5, and dim7 chords. Intermediate & advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.

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LESSON 2: Hearing a Hidden Melody within an Eighth-Note Line

In this video lesson, I will take phrase of all eighth-notes and reveal to you the hidden melody within that line. I use a short phrase from my etude, “Broadway Street” and deconstruct the line, revealing the melody that I had in mind. From there, I rebuild the phrase, adding an enclosure, approach notes to reconstruct the line.

This lesson provides insights into the compositional process involved in creating melodic eighth-note lines.

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


LESSON 3: High Speed Articulation with Halsted Street

In this video lesson, I share my strategies for increasing the speed and smoothness of your articulation when playing fast, consecutive eighth-notes. I use a short phrase from my etude, “Halsted Street” to demonstrate many different approaches to articulation.

The video also includes some discussion of extended articulation techniques, such as the “dooden” tongue and a demonstration of integrating the “dooden” tongue with the “ah-tah,” and staccato tonguing, all while keeping the phrase in tempo. INTERMEDIATE & ADVANCED level. Includes PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Oscar Peterson Trio: The Sound of the Trio

This is one of my all-time favorite recordings of the legendary Oscar Peterson trio, featuring Ray Brown and Ed Thigpen. This was recorded in the late 1950s in Chicago at the famous “London House,” a jazz supper club in downtown Chicago.

Artists would be “in residence” for their gig from one to three weeks at a time, playing between five and seven nights a week. This led to a wonderfully relaxed situation, where the artists could focus on the music, well-rested, without the fatigue of playing one-niters around the country.

I can hear the energy and communication present in every note of the album. You’ll even hear glasses clinking in the background. It’s like you’re right there in the room with the group. The record is also beautifully engineered by Val Valentin, for the Verve record label. A must-have for any serious collection.


approx 36 min

Module 37


LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.


LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.


aprox 27 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min

Module 44


LESSON 1: Six Essential Items for Daily Practice 

In this video lesson, I discuss the importance of practicing each item on my practice planner. I developed this approach in my 20’s when I was practicing many hours each day. I experimented with many different approaches to practicing and found that these six items yielded the best results.

Many people get stuck practicing only scales or chords and never seem to get to other items like vocabulary, transcriptions, etudes, and tunes.

Includes PDF practice planner.


LESSON 2: Secret Applications for the Bebop Scale

In this video lesson, I share what I call the “secret” applications for the bebop scale. These are not the types of applications that you learn in school. In both my undergrad and graduate studies, there was no mention of these applications of the scale.

And yet, when I transcribed the masters, I found that they routinely applied the scale in this way when they wanted to get more harmonic flavor from the scale.

If you’ve ever been at a loss for how to use the bebop scale over a minor ii / V situation, this video will show you how to apply the scale like a seasoned professional.

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


LESSON 3: Creative Scale Practice

In this video lesson, I share a story about one of my Skype students who was very bored with his scale practice. He was in a rut, always playing his scales like a technical exercise, rather than finding the music hidden within the scales.

I showed him these creative practice strategies that I use in my own practice and he was instantly playing with more energy and creativity while also improving his musical memory and his instrumental technique.

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


LESSON 4: C.E.S.H. – What it is and How to Use it.

In this video lesson, I explore and explain C.E.S.H. The term was coined by one of my former teachers, the great Jerry Coker. It stands for “Contrapuntal Elaboration of Static Harmony.” Basically, it means that you apply voice leading to a chord within itself by moving the sevenths (and sometimes the fifths).

This is a common harmonic device used by all pro players. You’ll recognize it as soon as you hear it. I explain the device and break it down in a way that makes it easy for all levels of players to immediately use this in their solos. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Thumb Position for the Octave Key

In this video lesson, I discuss and demonstrate the importance of good thumb position on the saxophone. This topic is often overlooked. Over the years, I’ve taught many students who needed to correct bad habits with their thumb position. In some cases, students were experiencing pain from using the wrong position or from using too much pressure.

The left hand cannot operate with efficiency without an excellent thumb position, combined with a light touch. If you’ve ever had issues with left-hand technique problems or pain in your left hand or arm due to the octave key, this video will address all of those issues and provide a clear strategy to fix the problem.


approx 33 min

Module 38


LESSON 1: Scale Junction Navigation

In this video lesson, I share my method for connecting various types of scales through a ii V I progression. This is a critical skill for all improvisers, as it gives you the flexibility to switch smoothly from the scale of the current chord to the scale for a new chord Many players are limited in their approach with scales because they think that they need to start each new scale from the root.

This is how scales are often taught in academic settings, but my system shows you how to easily connect the scales through voice-leading, from any note, highlighting the strongest notes in every chord. INTERMEDIATE & ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb and C instruments.
.


LESSON 2: Charlie Parker – Use of Bebop Ornamentation

In this video lesson, I analyze Parker’s use and application of bebop ornamentation. Bebop is an ornate style of jazz, sharing some similarities to baroque classical music in its use of ornamentation. Ornamental notes are what I describe as “sudden sixteenths” which are placed within an eighth-note line to add extra detail and sophistication to the line. In this lesson, I take a Parker phrase and break it down, removing all of the ornaments and then showing you how to use these concepts in your own lines, demonstrating with a line that I composed and then enhanced with the application of bebop ornaments in the Parker style.

INTERMEDIATE & ADVANCED LEVEL. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Locating the 13th of a Chord

The thirteenth is one of the most colorful notes in a chord, and yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the thirteenth of any chord.

This lesson includes hearing thirteenths over: Maj7, dom7, mi7, mi7b5 and dim7 chords. Intermediate level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Mel Torme Swings Shubert Alley

One of my favorite albums! Mel Torme at the height of his powers with beautiful pitch, tone, phrasing, taste, and humor. Marty Paich, one of my favorite arrangers, has created an amazing collection of arrangements of popular standards.

I love his instrumentation and the inclusion of the tuba in this ensemble. The engineering is also incredible on this album. It’s like you’re right there in the studio with the guys. Paich is also quite humorous, having the band slyly quoting “Who’s Sorry Now” and “Easy Living” while Mel is singing the tune “Just in Time.”

The band is an all-star cast of top West Coast players at the time — Jack Sheldon on Trumpet, Frank Rosolino on trombone, Art Pepper on alto, Mel Lewis on drums…A must-have for any collection.


approx 38 min

Module 41


The Echo Game with Lick #1 Variations

In this video lesson, we’ll play the echo game, in which you will imitate or “echo” whatever I play. I have the metronome at 160BPM and play many variations on Hip Lick #1. Each of my demonstration phrases is one measure in length. You’ll have one measure to play the echo, by ear.

The video is divided into two parts. The first part of the video is intermediate level, with all variations on the lick remaining in the same key. The second half of the video takes all of the variations for the echo and puts the lick into the cycle, playing different variations in each of the twelve keys. This is an ear-training video designed to improve your musical memory. So, by intent, there are no PDF notes for this lesson. INTERMEDIATE & ADVANCED LEVEL.


LESSON 2: Stop Scooping Your Notes!

I think of this video lesson like a public service announcement for all intermediate level aspiring player. In my earliest playing days, I was a guilty of this as anyone. I thought it sounded “jazzy” so scoop into my notes. Wrong! Thanks to my old teacher Joe Daley, who told me in quite harsh terms, but really cured me of doing this, I found a better way, through Sonny Stitt, to get the effect of sliding into a note while maintaining the pitch center of the note.

This video demonstrates how it sounds when scooping and then how it sounds when applying the Sonny Stitt way of using a grace note from a 1/2 step below, to slide into a note. Totally hip. This is designed to be an ear-training lesson, as well, so there are no PDF notes with this one. INTERMEDIATE LEVEL.
No PDF materials for this lesson


LESSON 3: The Bad Toupee Theory – How to Blend Licks into a Solo

In this video lesson, I share what I call my “Bad Toupee Theory.” The basic idea is this: Nobody points to a guy and says, “what a great looking toupee!” They only say “look at that bad toupee on that guy!” If it’s a great looking toupee, you can’t even tell that the guy is wearing a toupee. It’s similar with licks.

You don’t want to make it obvious that you’re using licks. They need to blend into the musical surroundings. In this video, I demonstrate an obvious usage of a lick (bad toupee) and I also demonstrate a subtle way to use a lick, blending it into the development of the solo. Includes PDF lesson notes for Bb, Eb and C instruments. INTERMEDIATE & ADVANCED LEVEL.


LESSON 4: Dealing with Practice Anxiety – How to Have Fun While You Practice

Recently, I’ve been hearing more and more from students of all levels who tell me that they’re constantly stressed out about practicing. They feel overwhelmed and anxious about the amount of musical material they need to master in order to move forward. I used to have these feelings, and it took me a long time to change my attitude and approach turn my practice sessions into really fun experiences. I

n this video lesson, I share my personal journey with you and give you some suggestions that, to this day really help me have fun in every practice session. BEGINNING, INTERMEDIATE & ADVANCED LEVELS.


 

approx 32 min

Module 39


LESSON 1: Locating the 9th of a Chord

The ninth is one of my favorite notes in a chord. To me, it always feels and sounds elegant and luxurious. And yet, many aspiring players have a difficult time locating and hearing the note. In this video lesson, I show you my system for easily hearing and locating the ninth of any chord.

This lesson includes hearing ninths over: Maj7, dom7, mi7, mi7b5, and dim7 chords. Intermediate & advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.

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LESSON 2: Hearing a Hidden Melody within an Eighth-Note Line

In this video lesson, I will take phrase of all eighth-notes and reveal to you the hidden melody within that line. I use a short phrase from my etude, “Broadway Street” and deconstruct the line, revealing the melody that I had in mind. From there, I rebuild the phrase, adding an enclosure, approach notes to reconstruct the line.

This lesson provides insights into the compositional process involved in creating melodic eighth-note lines.

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


LESSON 3: High Speed Articulation with Halsted Street

In this video lesson, I share my strategies for increasing the speed and smoothness of your articulation when playing fast, consecutive eighth-notes. I use a short phrase from my etude, “Halsted Street” to demonstrate many different approaches to articulation.

The video also includes some discussion of extended articulation techniques, such as the “dooden” tongue and a demonstration of integrating the “dooden” tongue with the “ah-tah,” and staccato tonguing, all while keeping the phrase in tempo. INTERMEDIATE & ADVANCED level. Includes PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Listening Recommendation: Oscar Peterson Trio: The Sound of the Trio

This is one of my all-time favorite recordings of the legendary Oscar Peterson trio, featuring Ray Brown and Ed Thigpen. This was recorded in the late 1950s in Chicago at the famous “London House,” a jazz supper club in downtown Chicago.

Artists would be “in residence” for their gig from one to three weeks at a time, playing between five and seven nights a week. This led to a wonderfully relaxed situation, where the artists could focus on the music, well-rested, without the fatigue of playing one-niters around the country.

I can hear the energy and communication present in every note of the album. You’ll even hear glasses clinking in the background. It’s like you’re right there in the room with the group. The record is also beautifully engineered by Val Valentin, for the Verve record label. A must-have for any serious collection.


approx 36 min

Module 37


LESSON 1: Rollins & Coltrane Ornaments

In this video lesson, I demonstrate two of my favorite approaches to bebop ornamentation, based on my observations of Rollins and Coltrane and the way that they dress up their lines with ornaments. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 2: The Jackpot 7-7-7 – Hearing a major scale over a II V I

In this video lesson, I show my technique for harmonically aligning a major scale over a ii V I. This strategic approach provides great clarity and voice leading, giving you all 3’s, 5’s, 7’s or 9’s over a ii V I while simply playing a diatonic scale.

A key factor is setting up your ear to hear the roots of the chords in relation to the starting note of the line. I demonstrate the process throughout the video lesson. Intermediate & Advanced level. Includes detailed PDF practice notes for Bb, Eb, and C instruments.


LESSON 3: Speed Bag – Cool Minor Lick

In this video lesson, I share one of my favorite minor patterns that I used for working up my technique.

This is a short but very effective lick for improving your precision on the keys, as well as improving alignment between your articulation and fingers. ALL LEVELS. Includes detailed PDF practice notes for Bb, Eb and C instruments.


LESSON 4: Greg’s Philosophy of Music: Playing by Theory vs Playing by Ear

In this video lesson, I discuss the difference between playing by theory and playing by ear. I share many examples from my years as a student and later observations from the perspective of a pro player and teacher.

If you’ve been trying to figure out music theory to make up for the possibility that your ear isn’t all that developed, this video will really shed some light on the reason that the theory (as much as I enjoy it) is no substitute for a highly trained ear. I’m not saying that theory isn’t important, but when it comes to playing jazz and improvising, the ear must be first, not the intellect.


LESSON 5: Listening Recommendation: Frank Sinatra: Point of No Return

For me, Frank Sinatra was the greatest singer, ever. He had it all…perfect intonation, diction, dynamics…the way he could tell the story of the lyrics in a way that felt like he was speaking directly to the listener. And, his phrasing…the breath control…astounding.

This album isn’t one of the most popular, like Live at the Sands, or Come Fly With Me (both equally good, but different). This is a mellow, introspective Sinatra, not the ring-a-ding Sinatra. Axel Stordahl’s arrangements are great examples of beautiful, clear, uncluttered orchestration. Like all of Sinatra’s Capital album’s, the engineering is top notch, sounding like it was recorded today.


aprox 27 min

Module 01


LESSON 1: System for Creating Diminished Scales on V7b9 Chords
This lesson demonstrates my system for creating diminished scales for the V7b9 chord. If you haven’t yet learned the diminished scale, or if you learned it via the traditional “half step/ whole step” approach, this system is a total game-changer! Check out this video to master your diminished scales over V7b9 chords.

LESSON 2: Theme & Variation – Singles, Doubles & Triples
This lesson demonstrates a technique I call “Singles, Doubles, and Triples.” This is a fun way to practice your chords or scales while creating lots of rhythmic variations by varying the number of times that you play each note. If you’ve ever been bored while practicing your chord arpeggios, give this new approach a try! BEGINNING & INTERMEDIATE LEVEL.

LESSON 3: Irving Park Road (Etude Studies) – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Irving Park Road (Etude Studies) – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Using Major Scales to Learn Intervals
With this lesson, we’re going to take the familiar C major scale and use it to train the ear to hear ascending and descending intervals. This approach lets you hear the intervals within the scale in much greater detail.

LESSON 6: 24 Permutations for the Fingers
This video features my method for sharpening independent control of each finger. This exercise will improve your technique and keep your fingers in shape even when you’re away from the horn.

LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 1 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video

approx 30 min

Module 02


LESSON 1: Interval Study – Major 7th intervals
Intervals are one of the most overlooked practice items. However, I consider them just as important as practicing scales and chords. In this video, I demonstrate my approach to practicing major 7th intervals by playing them in the cycle, both ascending and descending.
This approach is great for the ear, and it will help you to recognize the interval when you hear it in melodies. Once you get this approach under your fingers and in your ears, we’ll take the next step with intervals and apply them to many different harmonic situations. (more videos on this subject are coming in the future).
After working with this video, review many of the melodies you like to play, and look for the presence of this interval used both ascending and descending. When you do this, your ear will start to pick up on the interval, and you’ll be hearing at a deeper level.

LESSON 2: Hearing the Location of the Root, 3rd, 5th, and 7th in Chords
This lesson demonstrates my system for hearing the location of a specific note in a chord. If you can already play your chords from the 1-3-5-7 ascending and 7-5-3-1 descending, this video will take you to the next level. This system has helped many of students reach a deeper level of hearing harmony, to the point where they can play a “C” and hear that note clearly in their mind’s ear as the Root, 3rd, 5th or 7th of any chord type.

LESSON 3: Transforming a Maj7 Chord into a Diminished (maj7) Chord
This is a common trick among pro players, temporarily transforming a maj7 chord into a dimMaj7 chord for added harmonic flavor.

LESSON 4: Six Melodic Variations on a Descending Minor 7th Chord
In this lesson, I discuss and demonstrate Six Melodic Variations on a Descending Minor 7th Chord, and the theory behind them.

LESSON 5: Sunrise/Sunset Neck Exercise
This lesson features a technique I call “Sunrise/Sunset” for improving your breath support and dynamics. I use the neck alone to produce a concert E, demonstrating some of the techniques I use to improve tone, dynamics, and breath control.

LESSON 6: The Butterfly Tongue
This lesson features a technique I call the “Butterfly Tongue.” The is a technique for slightly muting the note and changing the timbre while the tongue rests on the reed. Getz, Prez, and many of the old-school masters use this technique to achieve both ghosted 8th notes, as well as quickly repeated notes, similar in sound to double-tonguing, but much smoother. This is a challenging one, but well worth the effort!
LESSON 7: Road Tips – Location of Notes within Maj7 Chords – Part 2 of 3
In this lesson, I show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 40 min

Module 03


LESSON 1: Enclosures
In this video, I demonstrate the enclosure, one of the most common elements of the bebop language. An enclosure consists of a targeted note preceded by upper and lower neighboring tones. Includes several practice strategies for working with the enclosures.

LESSON 2: Hip Lick #157 Tutorial – Working with Moving 7ths
In this video, I break down Hip Lick #157 into component parts and show you how the lick is built. Getz, Stitt, Coltrane, Rollins…they all use this fantastic device, which provides great harmonic color through voice-leading on the minor chord in a ii / V or ii / V / I.

LESSON 3: Halsted Street Etude – ALTO
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your ALTO sax.

LESSON 4: Halsted Street Etude – TENOR
Ideas and exercises for practicing, and getting the most out of this original jazz Etude with your TENOR sax.

LESSON 5: Road Tips – Location of Notes within Maj7 Chords – Part 3 of 3
In this lesson, I’ll show you how to think of one note in four different locations within a major 7th chord. For example, C = Root of Cmaj7, but C = the 3rd of Abmaj7, C = the 5th of Fmaj7, and C = the 7th of Db maj7. The importance of enharmonic notes is also discussed in the video.

approx 55 min