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.
