Some of the lessons and course modules featured at Greg Fishman Jazz Studios

LESSON 1: Hearing the Big 5 Chords in 5ths

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

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

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

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

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

LESSON 2: Identifying Approach Notes

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

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

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

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

LESSON 3: Passing Chords for the Bridge of Rhythm Changes

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

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

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

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

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

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

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

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

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

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

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

LESSON 3: The Maj7b5 Chord – Piano Perspective

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

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

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

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

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

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

LESSON 5: Lessons from the Bandstand – John Young

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

LESSON 1: Whole Tone Trick on Bridge of Rhythm Changes Category: Elements of Style / Chords (Dominant 7#5)

I’ve always loved the sound of whole tone. When I was a kid, playing augmented chords felt to me, musically, like I was walking up a staircase, taking two stairs with each step! In this video lesson, I share a harmonic trick that lets you easily access this whole tone sound over the bridge of rhythm changes.

If you’ve been missing out the cool sound of both the whole tone scale and the augmented triads derived from that scale, this video lesson will get you sounding like a seasoned pro with the material.

Always a fun and very distinctive harmonic effect.

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

LESSON 2: Trading Choruses and Fours on a Bb Blues with Greg

Old school. When I grew up in Chicago, I learned so much by sitting in at clubs and trading choruses and fours with the more seasoned players in town. I would try and pick up on the older player’s “vibe” and sometimes continue his idea. I

t was like we were having a musical conversation. I wanted to share some of that old-school approach with you in this video lesson. I’m accompanied by wolrd-class pianist Judy Roberts. We play a nice medium tempo Bb blues and you can trade choruses and 4’s with me.

This is a really fun one! Don’t look at any chords. Watch me and listen and trade with me when it’s your turn. Try to really stay in the moment with me and Judy as we play the blues.

LESSON 3: Diminished Whole Tone Hack for V7alt Chords

In this video lesson, I share a technique shortcut, often called a “hack,” that will help you easily access and hear all of the cool-sounding altered notes of the diminished whole-tone scale over an altered dominant chord.

The process is very simple, but this will have a very powerful harmonic effect on the way that you play and the way that you hear altered notes over a dominant chord.

PDF practice notes for Bb, C and Eb instruments

LESSON 4: 1235 Pattern – Part 1 of 2

In this video lesson, I show you how to practice and use the very popular 1235 pattern In this video lesson, I share a technique shortcut, often called a “hack,” that will help you easily access and hear all of the cool sounding altered notes of the diminished whole-tone scale over an altered dominant chord.

The process is very simple, but this will have a very powerful harmonic effect on the way that you play and the way that you hear altered notes over a dominant chord.

in multiple harmonic contexts. Part 1 of the lesson focuses mainly on the pattern itself and various ways to practice the pattern to gain technical fluency in all keys.

LESSON 5: 1235 Pattern – Part 2 of 2

Part 2 of this lesson shows you different places you can use the 1235 pattern over various harmonic situations. I also share some examples of the way that the pattern is used in the melodies of some famous standard tunes.

LESSON 1: How to Hear Melodies in Harmonic Context

One of the biggest challenges facing the aspiring saxophonist is learning how to hear a melody as it relates to the underlying chord progression. In particular, the relationship of the melody notes to the underlying root movement (bass notes) is essential for successfully hearing whether a melody note is a 3rd, 5th, 7th, etc.

For example, if the melody is playing a “B” natural, and no chord is heard underneath the note, that “B” is undefined, harmonically speaking. However, if you hear an E in the bass, that “B” now has a clear identity as the 5th of the chord.

In this video lesson, I share a technique for adding the bass notes to the melody and combining these two elements to help players hear this important relationship. I also share some additional strategies for memorizing chord progressions, though singing the bass notes while singing the chord names.

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

LESSON 2: Coltrane & Stitt Highlight Major 2nds over V7b9 Chords Category: Elements of Style / Interval Studies

In this video lesson, I explore the way that both Coltrane and Stitt highlight major second intervals in the diminished scale when playing over a V7b9 chord.

In addition to Coltrane and Stitt, many of the old-school jazz players preferred to highlight this particular interval when playing over a V7b9 chord, because this interval is pleasing to the ear, highlighting a sort of musical “sweet and sour sauce,” with the following note combinations: 13 & 5 / #11 & 3 / #9 & b9 / and Root & b7. This approach will help you to dial in very specific color combinations as you solo over the V7b9 chord.

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

LESSON 3: Exploring Hip Lick #59

In this video lesson, I’ll explore Hip Lick #59 from my book, “Hip Licks for Saxophone, Volume 1.” This is a Dmi7 lick (tenor key) that combines three common elements to form the two-measure phrase. I break the lick down into each of these component parts and conclude the video lesson with the “Echo Game” (by ear) in 12 keys.

LESSON 4: The Car Analogy – Sounds vs Theory 

In this video lesson, I share a new analogy that has been resonating with many of my Skype students. Although I’ve so often mentioned the importance of playing by ear and not just relying on music theory, this analogy, describing theory as license plates and sounds as cars will really help you to get the big picture on the differences between the ear approach and the theoretical approach to music.

LESSON 1: Moving 5ths

In this video lesson, I share a concept that I call “Moving 5ths.” This is a great way to add some voice-leading to a static chord.

For example. with a tune like “I’ll Remember April,” a soloist has four measures of a major seventh chord, followed four measures of a minor seventh chord. With the “Moving 5ths” strategy, it’s very easy to create a melodic change of color by highlighting the moving 5ths in the chords.

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

LESSON 2: Joe Henderson High D and Eb False Fingerings

Back in the late 1980’s and early 1990’s, I was so fortunate to have studied with Joe Henderson. I’ve always been a fan of his music and his approach. I used to hear him play every time he’d visit Chicago.

In this video lesson, I share two fingerings that I learned from intensive listening and study. While much of Joe’s technique is technically challenging, these two fingerings are very manageable, and they provide a very cool change of texture for these two palm key notes. Be sure to have your horn out to follow along with me in this lesson!

LESSON 3: Exploring Hip Lick #51

In this video lesson, I’ll explore Hip Lick #51 from my book, “Hip Licks for Saxophone, Volume 1.”

This is a Bbmi7 lick (tenor key) that is primarily based an an arpeggio that utilizes what I call “Direction 3,” which is a descending arpeggio followed by an ascending arpeggio. The lick highlights one of my favorite harmonic choices for a minor chord — the 11th.

Includes the “Echo Game” (by ear) for the lick in 12 keys, as well as twelve new endings for the lick — a new ending for the lick in each new key.

LESSON 4: 3D Dynamics – Decoupling Finger Pressure from Dynamics

In this video lesson, I share a technique that I developed to improve my technique by decoupling finger pressure from the dynamics being played on the horn. In my 20’s, I was playing a quiet background gig and I noticed that I had nice, smooth technique on that gig. Lots of effortless facility on the horn.

The next night, I had a very different type of gig. Jazz gig in a noisy club with a loud drummer and no microphone. I found that my technical facility on the horn seemed to have dropped overnight! I was struggling with technical passages that were easy the night before.

There was tension in my hands and arms. After the gig, I thought about it and made a startling realization. When I was playing softly, I was relaxed, pressing the keys lightly. On the loud gig, I was tense and pounding the keys down very hard as I was struggling to hear myself.

I realized that I needed to be able to separate my finger pressure from my dynamics. For the benefit of a visual reminder — this is the 3D part — I hold my mouthpiece cap close and far away from the camera as I demonstrate the concept.

This lesson will improve both your technique and your attention to dynamics!

LESSON 1: The Pivot

In this video lesson, I use Hip Lick #1 to demonstrate an essential device for creating many variations from a very small amount of musical material.

This device is commonly known as “The Pivot.” The pivot involves the use of octave displacement applied to one or more notes in a phrase. I call this concept “high mileage,” because you get so much more from each musical idea when you apply the pivot.

Sometimes the pivot is used to simply modify a phrase in order to make it fit within the range of an instrument. Other times, the pivot is used simply to the benefit of musical variety with the same group of notes in a phrase. Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Neighboring Diatonic Seventh Chord/Scale System (Parts 1, 2, 3 and 4)

In this series of four video lessons, I share a new system that I have developed for the creation of scales. The system uses two neighboring diatonic seventh chords to create any mode of any scale.

In the first three videos, I demonstrate the system using the vibraphone, for both the visual presentation of the instrument, as well as the fact that I can let the notes ring into each other, providing a combined sound of all notes from both chords.

In part 4, I demonstrate the system on tenor saxophone.
This is a completely different approach to scale construction, and it’s fantastic for ear training, as it gives your ear an overview of the sound of the scale with the chord arpeggios.

In addition, I break down the system to groupings of four notes, six notes, and eight notes, which provides not only a graduated system for your ear to absorb the sounds but also gives you incredible fluency of technique.

Part 1: Overview and explanation of the system.
Part 2: How to practice with the system to create the major scale.
Part 3: Chord combination formulas for all modes of the major scale system.
Part 4: Demonstration of the system on tenor saxophone.

Includes detailed PDF practice notes for Bb, Eb and C instruments. Also includes PDF with chord formulas for both major and melodic minor modes.

LESSON 3: Continuous Tone – Keeping the Air Moving


In this video lesson, I share a strategy that has helped so many aspiring students struggling with playing their chords in a smooth way. Many students tend to stop blowing whenever they are unsure of the next note in a chord to play. When working with one of my skype students, this approach immediately made him sound smoother and more expressive.

LESSON 1: Creating a Melody from Four Voice Leading Lines – Part 1 of 2


In this video lesson, I present a visual system, using common chord shapes as upper extensions, to create beautiful melodies using four voice leading lines.

A unique feature of this video lesson is the way in which I demonstrate the concept with written notes, explaining the theory behind the concept as I create the written notes. Be sure to have blank paper and a pencil handy so you can follow along and create your own notes as you watch the video. Copy everything that I write onto your own page of notes.

I have included my note page as a PDF, but I recommend that you take your own notes…it will stay fresher in your own memory if you write out the notes as you watch me explaining the concepts.

LESSON 2: Creating a Melody from Four Voice Leading Lines – Part 2 of 2


In this video lesson, I play my tenor to demonstrate a wide variety of melodic lines derived from the written notes created in part 1 of this lesson.

It is really exciting to hear the written notes come to musical life as I play the chord structures and relate them to the underlying bass notes of the ii V I chord progression.

I explain my melodic choices and share some key strategies that I use to ensure smooth transitions from one chord to the next.

LESSON 3: The 4-3-2-1 System for Technical Fluency


In this video lesson, I share my practice system to gain technical fluency over any musical material that you want to play in all twelve keys.

The system improves your technique through repetition of the musical phrase, but it will also improve your ability to focus your concentration, keeping track of how many times you’ve played each phrase before you move on to the new key.

I use Hip Lick #1 for the playing example in the lesson, but you can apply this concept to any musical phrase.

LESSON 4: Slowing Down Recorded Performances

In this video lesson, I share my thoughts about aspiring players slowing down recorded performances.

I got the idea for the video when a student contacted me to ask if I could create my next iPad app so that it would slow my performance down to just 30% of full speed (the current version of the app slows to 60% of speed).

Although I am a fan of practicing slowly with a metronome and working things up to tempo, I’m not really a huge fan of slowing down recorded performances.

In this video, I explain why I think that it can actually have a negative effect on your development if you’re always listening to “slowed-down” recordings.

LESSON 1: Finding the Money Note (b13) on a Diminished Seventh Chord

In this video lesson, I explore what I call a “money note” over a diminished seventh chord. I call it this because I consider it to be a high harmonic value note.

I have always loved the sound that the major composers utilize in their great melodies. Jobim, Porter, Jerome Kern, Johnny Green…they all have this one note choice in common when it comes to their melodic choice over a diminished chord.

This video lesson is given from the piano to provide you with the full harmonic context of the sound. Includes an echo game working with the sound.

LESSON 2: Using Maj7#5 Chord Structures Over Minor ii v i Progressions

n this video lesson, I share my system for applying the Maj7#5 chord structure over a ii mi7b5 / V+7+9 / i mi(maj7) progression.

This approach uses sounds that highlight the extensions of each chord, resulting in a very rich harmonic flavor. Since the chord structures are all the same (maj7#5) and applied to three different chord types, there’s also a beautiful symmetry to the sound.

I demonstrate the concept using the four directions. Includes PDF practice notes for Bb, Eb and C instruments.

LESSON 3: Articulation – Playing with a Fast Airstream

In this video lesson, I discuss one of the common reasons that many aspiring players have difficulty with high-speed articulation. They’re inadvertently slowing down their airstream whenever they move their tongue.

This causes the reed to vibrate at a slower speed and the tonguing feels slow and labored. I demonstrate several phrases with and without articulation and include suggestions for ways that you can practice with these concepts to improve your articulation with a fast airstream.

LESSON 4: Listening Recommendation: Gerry Mulligan – What is There to Say

In this video, I discuss one of my all-time favorite albums, Gerry Mulligan’s “What is There to Say.” This album is great on so many levels…the writing and arranging is superb. Incredible counterpoint and such creative use of the textures in the group.

The solos have a feeling of crackling energy and life to them. It almost feels like a live recording, rather than a studio date. In addition, the engineering is outstanding…it’s like you’re in the room with the group. I also discuss certain aspects of the time feel and how to achieve a relaxed effect at a fast tempo.

LESSON 1: Randomized Minor 3rds Echo Game with the Vibes

In this video lesson, we’ll play the echo game with minor 3rds in the four directions, but also, they’re randomized.

This was one of my main ear-training strategies in my early 20s as I was developing my teaching method. It’s challenging but fun, and it will yield great results.

Why the vibes? The vibes provide a clear, bell-like tone that rings for a long time. I have found this to be excellent for helping players internalize the sounds of the pitches….The notes will still be ringing while you try to match the pitch.

This will allow your ear to compare the ringing pitch of the vibes with the sounds coming out of your horn, and you’ll learn to adjust to match the vibes very quickly.

LESSON 2: Cannonball Adderley: ii mi7- V7 – Melodic Genius Phrase

In this video lesson, I explore the opening phrase of Cannonball Adderley’s classic solo on Autumn Leaves. It’s a iimi7 – V7 phrase – Ami7 to D7 in alto key.

This is a masterpiece of melodic efficiency and beauty. Follow the video by ear and play along with me to learn this essential phrase of classic jazz vocabulary from Cannonball.

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

LESSON 3: Escaping the Conscious Mind of Theory

In this video, I share my thoughts about escaping the conscious mind of theory and playing at the speed of sound. Many aspiring players seem to only play as fast as they can mentally calculate the correct notes for a scale, chord, or phrase.

I’ve even encountered pro players who have come to me for help, telling me that they just can’t stop thinking about theory as they play. I used to play that way, but it was very limiting and musically frustrating.

However, I discovered that if I played very fast, my conscious mind couldn’t keep up and didn’t even try. This freed me up to focus on the sound I was hearing, as opposed to the theory I had been thinking.

Once I felt what it was like to play by ear, with my fingers responding to the sound, it felt like I had an aural awareness of the chords as I played (at any tempo), without having to think mechanically through the spellings and theory.



This is not to say that you don’t need to know music theory. You do need to know your scales and chord spellings but think about this in terms of spoken language…You’re not spelling out words in your mind and diagramming sentences while you have a fast conversation with a close friend.

The music should be the same way…you need to break free of those chord and scale spellings and play by sound (ear). Since this involves high-speed playing, I also discuss some of my concepts of hand and finger relaxation so that you can learn to play at high speeds without injuring your hands, wrists, and arms.

LESSON 4: Major 6/9 Chord Voicing with 4ths

I’ve had many questions from students about major 6/9 chords, versus C maj7 chords. In this video, I discuss the differences between the two chords, as well as the similarities.

This chord voicing utilizing 1-3-6-9 is a piano voicing that I like. It has a fresh, open sound when played on the saxophone, and it’s a nice contrast to hearing the more common chord voicings in thirds used by most saxophonists. Includes two echo games — one with maj7 and major 6/9 chords for your ear to compare the two sounds, followed by an echo game with just the new voicing.