Most Popular Lessons

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I've made other lessons here with the same theme. Make it sound like the song. 

It's our job in a way. Sure the heavy weights do this or that. But a true heavy weight can make it sound like the song. Once you have mastered that then you can take liberties. Listen to some of the solo Chick Corea CDs. He takes liberties but he's a monster! 

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I slow down my solo so you can see how I use 4 mallets and comp and play. I say in the video that the most important thing to me are the lines, more important than the comping. IMHO

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🚨 Play a Great Blues in 3 Months – Week 10

Up to this point, we’ve been building a blues vocabulary through:

• Guide tones
• Chromaticism
• Augmented, diminished, and whole tone sounds
• Full chorus line studies

This week, we shift into something more practical:

👉 Applying these ideas to a real tune

We’re using the melody to “Bag’s Groove” as our starting point, and combining it with chord voicings in the spaces.

This is an important step.

Instead of thinking separately about:

🚨 Play a Great Blues in 3 Months – Week 11

Last week, we started working with a real tune—“Bag’s Groove”—combining the melody with chord voicings in the spaces.

This week, we take that idea a step further.

👉 We move toward a more chord melody approach.

In this version, you’ll notice:

• Some melody notes are now harmonized with chords
• Additional voicings fill out the texture
• Certain harmonies are slightly modified for a fuller sound
• The line and harmony are more integrated

Creating Your Own Etudes Pt.1 by Behn Gillece

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🚨 Soloing Through the Changes Pt. 6 – Bebop Scale Variants on the Blues

In Part 6, we continue exploring scale-based soloing over the blues in F, this time using bebop dominant scale variants enriched with added chromatic passing tones. This lesson focuses on creating longer, more fluid lines that still clearly outline the changes—using the dominant bebop scale as a flexible framework, not a strict formula.