Ever wonder what would happen if you took Rhythm Changes and put them in a minor key? You just might get a spooky October surprise!
First, let’s define “Rhythm Changes“. (It has nothing to do with a rhythm changing or any meaning close to that. This jazz musician term is simply a shortening of the phrase, ‘Play the same chords (aka thechanges) that George & Ira Gershwin used for their popular tune, I Got Rhythm’. Knowing how to improvise over Rhythm Changes (especially in the key of Bb), is an expected part of every jazz musician’s repertoire, next in line after being able to improvise over the 12 bar blues form. Continue reading “An Experiment With ‘Rhythm Changes’ (Skeletons Dance at Midnight)”
It’s over 100º outside, we are all getting a bit bored with “socially distancing”, and let’s face it – today is a great day to learn to play a very slow, hot, blues.
This tutorial came together after giving several of my online piano students tips on the basic 12 bar blues, common blues endings/turnarounds, typical jazz blues substitutions – plus my “covid bubble hubby” music partner and I had just performed a live Zoom concert from our home studio to friends’ living rooms across the country in their own “covid bubbles.” Continue reading “Got The Blues? Tips on How To Play a Slow Blues in G”
If I Had You(1929) is a cute YOUtune that can be played various tempos; I chose to arrange it with a slow swinging ‘saunter through the park’ feel. The tutorial part of this first video explores 8 different ways to harmonize the opening 4 chromatic melody notes in the main body of the tune. Watch the video all the way through, and you will get a bird’s eye view of many stylistic solo piano devices such as single note or octave bass lines, broken 10ths, soft swing bass, and the Bud Powell LH shell voicing using the root and 7th, which are all suitable for small hands. Continue reading “8 Ways to Play 4 Notes: If I Had You (solo piano ideas)”
Memorial Weekend 2020 felt like a relevant time to revisit this recording of When The Saints Go Marching In, to honor the lives of heroes lost during both the past and most recent of days. The concept of my arrangement was similar to a New Orleans Funeral or Celebration of Life – a contemplative piano introduction, followed by a jubilant jazz band send off: Continue reading “When The Saints Go Marching In (Lesson in Jazz Harmony)”
Musicians who are also Educators have a burning desire to create, perform, and share ideas with others, which can be tough during these times of quarentine due to COVID-19. Fortunately for me, I’ve been self isolating along with my musician husband who happens to be a very fine jazz bassist. TrueConfession: We don’t normally practice together Continue reading “On A Clear Day: 3 Ways 2 Play 4 Piano”
Observe today’s music theory illustration pictured above. Notice the photo of these colorful FourO’clock Flowers – each bloom is unique, but they all are linked together as a family that grows from the same parent plant.
This week one of my newer adult piano students eagerly read ahead in my book Amazing Phrasing – Keyboard, and got a bit confused trying to understand the Greek modes/scales we refer to in both jazz & traditional music theory. During her first lesson this enthusiastic lady Continue reading “Explaining the Greek Modes”
Ever wonder how jazz musicians come up with inspired chords when playing ballads? Reharmonization can be a fun experiment to try! Watch my video to find 3 ways to create a compelling bass line plus some sweet chord voicings to play under the melody of Hoagy Carmichael’s classic composition Skylark:
Ever notice how certain old hymns have chords and candences like other familiar tunes? (Especially the ones in 3/4 time can sound like Irish or Country Waltzes, Holiday Hits, or early American Songs.) I was MONKeying around with this request for The Old Rugged Cross, getting ready for a memorial service, when I kept getting distracted by other tunes which sounded similar.
What goes on in your head when you improvise? Are you thinking about something in particular, or just playing “anything” and not really thinking at all? How are you able to improvise with other musicians you’ve never played with before and sound so good together?