Free Jazz Piano Lesson #18: Autumn Leaves Etude

In this week's lesson we take on "April's Line," my tune based on the very popular jazz standard "Autumn Leaves." Like in previous lessons, I have written a rhythmically complex and harmonically interesting melody over the original chord changes. Very little reharmonization has been done. However, I have taken the opportunity to write out any chord alterations as best as possible to better suit the melody. The alterations may be kept or thrown out while improvising over the tune. The etude may be played on any instrument even though it is best suited for jazz piano. Even if you are not a jazz pianist, give it a try!

 I have provided a purchasable lead sheet available if you are interested in playing this melody within your own group or any any other context. The .pdf contains parts in C, Eb, Bb and Bass Clef transpositions

Get it here: "April's Line" Lead Sheet in C, Bb, Eb and Bass Clef

How to practice this jazz piano lesson:
Turn on the metronome at a slow enough tempo where you can play the exercise effortlessly.
1) Play each hand as written while concentrating on hearing the melody in your head.

2) Play the L.H. as written while singing the right hand melody.

2b) An alternative to this step include pantomiming playing the right hand while singing. This helps connect the physical action of playing with your aural memory.

3) Sing the R.H. melody away from your instrument.

Was that not enough of a challenge for you?
1) Consider taking small sections you enjoyed through all 12 keys.

2) Practice displacing each phrase by half a beat, a full beat, or one and one half beats.

3) Practice improvising with the melody by altering the rhythms within each phrase.

Click here to download your free .pdf of this lesson on Scribd.



Consider supporting my website by purchasing the lead sheet of this lesson:
"April's Line" Lead Sheet in C, Bb, Eb and Bass Clef
Click here to download your free .pdf of this lesson on Scribd.


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Thanks for watching!  T.J. Martley

J.S. Bach - Sinfonia #1 (Three-Part Inventions)

I thought I would take some time off from Bach after completing my series on Bach's two part inventions. Yet, I only managed to record one video, Beethoven's "Fur Elise", before coming back to Bach. For me, practicing Bach's music is simply the best exercise in tone production and fingering technique. It will truly be a sad day when I complete his works. Fortunately for me, he was a prolific writer and most all his works are held in very high regard. I doubt I will ever come close to recording his complete works for keyboard.

Here is my recent recording of J.S. Bach's Sinfonia #1 in C Major. These pieces, as well as the two-part inventions, were written as technical studies for his piano students. We assume they were implemented for keyboard technique as well as compositional analysis of the counterpoint style. I hope you enjoy my take on this Baroque masterpiece.

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Early Keith Jarrett Playing Playing Piano at Jazz Camp

I just discovered this incredible photo of Keith Jarrett playing piano at (allegedly) a summer Jazz camp.

(photo via. JohnGolsby.com)

Check out my lesson on Keith Jarrett on my YouTube channel:

Free Jazz Piano Lesson #21: Bud Powell Solo Break Analysis and Performance

 As a teacher and a student I have always struggled to find the "best" ways to practice.  The older and more experienced I get, the more I learn what works best for me.  A professor once told me a story about about Oscar Peterson's intense practice routine.  He would work out 4-5 fingerings for technically troublesome passages.  That way he was sure not to get tripped up in any situation when trying to implement it.

Lennie Tristano has a similar method while teaching scales.  He would have students learn the traditional fingering followed by up to six other variations of fingering.  He would then have the students play all the different fingerings with implementing complex polyrhythmic variations.  I guess the point that I'm trying to make is, sometimes it's best not to be so single minded in our approach to practice.  The more ways we approach the problems of playing, the more options we have to fall back on if we happen to fail.

Here are some suggestions for practice when working with new melodic material:

1)  Scientifically approach analyzing the material to the best of your ability.  Try to be thorough but not overly so.  Once you've analyzed the material, beginning taking snippets of it through all twelve keys.  This method is most effective when combined with an ear (aural) based approach.  


2)  Use an aural approach.  In previous lessons we've talked about singing melodies at and away from our instruments.  Don't worry if you're having trouble at first.  The goal isn't to become the next Frank Sinatra, it's to sing as accurately as possible the pitches you are hearing in your head.  


3)  Try various technical approaches to the material.  Varied fingerings, using both hands, changing octaves, changes in phrasing, ghosting random notes, leaving out notes, playing as fast as possible, playing as slow as possible...

I hope you've enjoyed these past two lessons.  They took some time to make and edit.  If people seem interested, I will continue to make more.  Although, they likely will be a little less detailed then these have been.

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Lesson #21- Solo Break Analysis

'Round Midnight - Thelonious Monk

I was inspired to record this week after re-watching my friend Tom's (7notemode) version of "Round Midnight."  I remember watching his videos, along with Lot2learn's videos, repeatedly when they were uploaded.  Both players have always been positively encouraging of my playing.  I continue to be consistently inspired by their videos.  I hope together we are making some sort of progress in the fight to keep Jazz alive.

Check my solo improvisation on Round Midnight below as well as Tom's version.  Thanks for watching!

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Free Jazz Piano Lesson #17: Open Position Shell Voicings

In this week's free jazz piano lesson, we revisit two-part shell voicings. We'll explore how to take these basic voicings and make them fuller sounding for when you're playing in a solo or duo situation. This style of jazz piano voicing is very commonly used by solo pianists (especially stride pianists of the '20s and '30's). Some great examples of this style of voicing can be found in the solo playing of Bill Evans, Bud Powell and even McCoy Tyner!

I hope you enjoy this lesson. Please leave a comment with any questions or suggestions and feel free to share this lesson with your friends.

Click here to view your free .pdf of this lesson on Scribd.com.

 

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Scribd Link:
Lesson #17: Open Position Shell

Ludwig van Beethoven - Fur Elise (Für Elise)

"It is not certain who "Elise" was. Max Unger suggested that Ludwig Nohl may have transcribed the title incorrectly and the original work may have been named "Für Therese",  a reference to Therese Malfatti von Rohrenbach zu Dezza (1792–1851). She was a friend and student of Beethoven's to whom he proposed in 1810, though she turned him down to marry the Austrian nobleman and state official Wilhelm von Droßdik in 1816.  According to a recent study by Klaus Martin Kopitz, there is flimsy evidence that the piece was written for the German soprano singer Elisabeth Röckel (1793–1883), later the wife ofJohann Nepomuk Hummel. "Elise", as she was called by a parish priest (she called herself "Betty" too), had been a friend of Beethoven's since 1808.  In the meantime, the Austrian musicologist Michael Lorenz has shown that Rudolf Schachner, who in 1851 inherited Therese von Droßdik's musical scores, was the illegitimate son of Babette Bredl (who in 1865 let Nohl copy the autograph in her possession). Thus the autograph must have come to Babette Bredl from Therese von Droßdik's estate and Kopitz's hypothesis is refuted."  (via. Wikipedia.org)
Just catching up on some music I should have taken more seriously as a child.  Here I am playing Beethovens most popular Bagatelle in A minor, a.k.a. Fur Elise (Für Elise).  I have finished recording Bach's Invention's and plan on starting to record the Three-Part Sinfonias soon.  

Free Jazz Piano Lesson #20: Bud Powell Solo Break in 12 Keys

In this video we check out how to learn this Bud Powell melody in 12 keys using an aural approach.  Enjoy!

Step 1)   Sing and play the melody and the same time.  Play slowly to make sure that you are singing each pitch accurately and in tune.  You will want to play simple shell voicings in your left hand in order to hear the melody within it's harmonic context.  Repeat in all 12 keys before proceeding to the next step.

Step 2)  Sing the melody over left hand voicings without playing the right hand.  You can "ghost" the notes in your right hand if you are able.  Singing while ghosting, i.e. pressing a note down without making a sound, helps us combine the physical and aural approaches in a deeper and more meaningful way.  Repeat in all 12 keys.

Step 3)  Play the melody in the right hand without singing.  If you've completed step 1 and 2 honestly, this should be the easiest step.  You do this step with and without the L.H. voicings.

Click HERE to view your free .pdf on this lesson on Scribd.com.

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Lesson #16: But Beautiful Etude

How to practice this lesson:
Turn on the metronome at a slow enough tempo where you can play the exercise effortlessly.
1)  Play each hand as written while concentrating on hearing the melody in your head.
2)  Play the L.H. as written while singing the right hand melody.
2b)  An alternative to this step include pantomiming playing the right hand while singing.  This helps connect the physical action of playing with your aural memory.
3)  Sing the R.H. melody away from your instrument.  


Was that not enough of a challenge for you?  
1)  Consider taking small sections you enjoyed through all 12 keys.
2)  Practice displacing each phrase by half a beat, a full beat, or one and one half beats.
3)  Practice improvising with the melody by altering the rhythms within each phrase.


Enjoy!





Did you like this lesson and want to see more like it?  Please donate to help me keep making videos!

 

Click below to view your free .pdf on Scribd.com.
Lesson #16: But Beautiful

Bach - Invention #15

This completes my journey through Bach's 2-part Inventions.  I have started working on the first Sinfonia in C Major.  J.S. Bach wrote these piano pieces for his students.  as exercises in technique and composition.  I start learning them after hearing Keith Jarrett speak of their importance in developing better piano fluidity.  My only regret is not having the focus and dedication when I was younger. Enjoy and please leave a comment, send a message and feel free to share with your friends!

Free Jazz Piano Lesson #15: All the Things You Are Etude

How to practice this lesson:


Turn on the metronome at a slow enough tempo where you can play the exercise effortlessly.


1)  Play each hand as written while concentrating on hearing the melody in your head.


2)  Play the L.H. as written while singing the right hand melody.


2b)  An alternative to this step include pantomiming playing the right hand while singing.  This helps connect the physical action of playing with your aural memory.


3)  Sing the R.H. melody away from your instrument.  


Enjoy!


Check out the previous etude here:
Lesson #14: Confirmation Etude




Click Here for your FREE .pdf copy of this lesson!Lesson #15: All the Things You Are Etude


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Free Jazz Piano Lesson #14: "Confirmation" Etude with Shell Voicings

In this weeks lesson we take a look at an etude I wrote over Charlie Parker's "Confirmation." I wanted to showcase how a simple left hand voicing approach can lend itself perfectly to more complex writing. I hope this etude is challenging and gives your ears a much needed stretch! Please enjoy and feel free to write me with any questions you might have about this lesson.

   
Click here for your FREE .pdf copy of this lesson!Lesson 14 Confirmation Etude

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Bach - Invention #14

Johann Sebastian Bach wrote a series of compositional studies and exercises in technique for his students between 1685-1750.  15 of them are 2-part contrapuntal pieces and the other 15 are 3-part contrapuntal pieces.  Counterpoint (contrapuntal) is a style of writing where two or more rhythmically varied yet harmonically symbiotic voices interact to form the composition. 

J.S. Bach's Inventions and Sinfonias (BVW 772-801) are often the early pivotal points for young budding classical pianists.  Unfortunately for me, I had neither the focus or dedication to adequately take them on in my youth.  Now, I have returned to Bach's music as an exercise in pianist fluidity and tone control.  I hope you enjoy my novice attempt at performing his music.  I do not claim to be an expert on the music.  Although, it appears to be helping my improvising significantly and I feel more confident in my classical technique after each piece I perform. 

I hope you enjoy this performance.  Please feel free to leave a comment below or send me a message!

Free Jazz Piano Lesson #13: Melodic Shell Voicings (Part 2)

Please be sure and check out the previous lesson before continuing:
Lesson #12:  Shell Voicings (Part 2)

How to practice this lesson:
Turn on the metronome at a slow enough tempo where you can play the exercise effortlessly.
1)  Play each hand as written while concentrating on hearing the melody in your head.
2)  Play the L.H. as written while singing the right hand melody.
2b)  An alternative to this step include pantomiming playing the right hand while singing.  This helps connect the physical action of playing with your aural memory.
3)  Sing the R.H. melody away from your instrument.

Enjoy!




Lesson #13: Melodic Shell Voicings (Part 2)

Did you like this lesson and want to see more like it?  Please donate to help me keep making videos!

Bach - Invention #13

Johann Sebastian Bach wrote a series of compositional studies and exercises in technique for his students between 1685-1750.  15 of them are 2-part contrapuntal pieces and the other 15 are 3-part contrapuntal pieces.  Counterpoint (contrapuntal) is a style of writing where two or more rhythmically varied yet harmonically symbiotic voices interact to form the composition. 

J.S. Bach's Inventions and Sinfonias (BVW 772-801) are often the early pivotal points for young budding classical pianists.  Unfortunately for me, I had neither the focus or dedication to adequately take them on in my youth.  Now, I have returned to Bach's music as an exercise in pianist fluidity and tone control.  I hope you enjoy my novice attempt at performing his music.  I do not claim to be an expert on the music.  Although, it appears to be helping my improvising significantly and I feel more confident in my classical technique after each piece I perform. 

I hope you enjoy this performance.  Please feel free to leave a comment below or send me a message!

#3 - Have You Heard? - J.R Monterose, "The Message"

Here's a great offering from one of the most underrated tenorists of all time.  Maybe underrated isn't exactly the best term.  Under-appreciated is probably a more appropriate description.  You don't have to look too hard to find admiration of him from some of the best players who ever lived.  I heartily enjoyed this album of mostly swinging original music from J.R. Monterose.  I hope you do too.

"I've tried all my life to avoid copying. If I can't be myself, there's no point being in jazz."  

-  J.R. Monterose

Track Listing:

1. Straight Ahead (Monterose) 5:30
2. Violets For Your Furs (Dennis, Adair) 2:47
3. Green Street Scene (Monterose) 6:18
4. Chafic (Monterose) 5:14
5. You Know That (Monterose) 5:44
6. I Remember Clifford (Golson) 5:38
7. Short Bridge (Monterose) 6:36

Personnel

J. R. Monterose - ts

Tommy Flanagan - p

Jimmy Garrison - b
Pete La Roca - dr

Favorite Track:  Violets For Your Furs
Favorite Solo:  Jimmy Garrison's unaccompanied bowed solo on You Know That

Check out J.R. Monterose albums here!

Lesson #12: Shell Voicings (Part 2)

If you haven't watched my previous video, you should check it out HERE before continuing.

Most pianists will skip this very fundamental step in learning how to approach jazz harmony on the piano. Just because it's simple doesn't mean it isn't worth learning. Bud Powell started using these very simple voicings in 40's and they are still used by almost every modern jazz pianist today. My favorite examples of 2 part (and 3 part) shell voicings come from any of the Bill Evans solo albums. You should check them out if you haven't already and are looking for some practical applications of this exercise.

Feel free to experiment by trying out different combinations of shell voicings while working on your favorite jazz standards. Take the exercises as slow as needed and you should have no problem learning these voicings adequately.



Lesson #12: Shell Voicings (Part 2)

#2 - Have You Seen? - Kurt Rosenwinkel

Have you seen Kurt Rosenwinkel play "Old" Milestones (Miles Davis) live?  As far as I am aware, he hasn't recorded in the studio yet.  There are, however, a handful of these wonderful videos and bootlegs circulating among musicians.  "Old" Milestones is the perfect vessel for Rosenwinkel's chromatic weaving and lyrical modernism.  I think you'll agree after watching the two live takes posted below.  Enjoy!

#2 - Have You Heard? - "Patterns in Jazz"

Recorded in 1956, bari saxophonist Gil Melle's album is an odd but worthy addition to the Blue Note library.  I stumbled upon this rare album while looking over the Blue Note Records discography on Wikipedia.  Not to be confused with Jerry Coker's seminal be-bop guide Patterns for Jazz, Patterns in Jazz represents a great but obscure example of "cool" jazz.

Pattern's in Jazz introduced me to some excellent soloists I had not yet heard.  Joe Cinderella and Ed Bert's solos are exciting and melodic additions to Gil Melle's Gerry Mulligan inspired improvisations.  Veteran all-stars Ed Thigpen and Oscar Pettiford hold down groove and provide the perfect backdrop for inspired solists.  Melle's cool-school inspired yet abstract compositions are the true star of the show here.  Weird Valley and Nice Questions were among my favorite tracks.


"The Set Break" - 4:48
"Weird Valley" - 5:13
"Moonlight in Vermont - 4:52
"Long Ago and Far Away - 4:32
"The Arab Barber Blues" - 9:05
"Nice Questions" - 8:17


Patterns in Jazz - Gil Melle

• Gil Mellé - tenor saxophone, baritone saxophone
• Eddie Bert - trombone 
• Joe Cinderella - guitar
• Oscar Pettiford - bass
• Ed Thigpen - drums

Lesson #11: Melodic Shell Voicings

For more lessons, check out the "Lessons" tab above.

You may want to review Lesson #10 before moving on.



Click here to view and download your FREE .pdf copy of this here.

Tips for practicing this exercise.

Step 1: Play the exercise slowly (80bpm or less) with both hands. Be sure you can play the entire etude effortlessly before moving on.

Step 2: Play the left hand shell voicings while simultaneously singing and playing the right hand melody.

Step 3: Play the left hand shell voicings and sing the melody.

Step 4 (optional): Sing the melody alone and away from your instrument.

This reminds me of a story one of my teachers told me about asking Barry Harris how he practiced. Barry answered, "You've got to learn to the play the piano in your mind!" You're not always going to have your instrument available, but that doesn't always mean you can't practice. Being able to hear and sing accurately will allow you to practice anywhere, anytime, regardless of if you have your instrument available.

Feel free to leave a comment or message me with ideas for future lessons.