Lesson

Hey everyone,

Here's part two in this mini-series. In this one, I focus on dominant 13 (#11) chords, explain where to play them, why they exist, and how to solo over them. And, most importantly, why you have to treat every dominant chord you encounter differently, depending on context.

Let me know if you have any questions!

Hello all,

This is a topic I've been wanting to cover for awhile, and I finally made a video on. I think this is something that jazz education (at least in my experience) hasn't covered enough. It's how, in the key of C, you need to play differently on an E7, compared to a Bb7, compared to a G7, compared to an F7. They all have different scales and extensions that accompany them.

It's not all hard science, but a lot of it is! I heard someone say once that 99% of music is teachable, mathematical facts, and 1% is magic. So learn the 99%!

Here is how you do this.
4 bars at a time. That for the most part 2 chords at a time. At the end of the tune it's one bar per chord instead of 2 in the beginning.

So what you do is print this out.

• Do the first 4 bars in every key.
• Once you have that done, do the next 4

Take your time. Do it also on the piano if you can. Go slowly through all the keys.

Ok Dec 1 at 7pm EST - 00:00 UTC

For paid subscribers:

Here is the link for the pop up class.

Join Zoom Meeting
https://uarts-edu.zoom.us/j/85407536321?pwd=Vk8valFVQ2lhZng0NGREUzdRdjh…

Meeting ID: 854 0753 6321
Passcode: graduated

Hey everyone,

In this dampening lesson, I explain a technique I call "partial-deadstroking" and its implications for playing ballads, as well as comping on swing tunes!

Hello all,

Just another dampening lesson! This time, we're looking at staccato dampening and dead-stroking, the differences between the two, and where to use them.