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Practical Jazz Theory for Drummers, Part 11: Tonicization

Posted by on Feb 13, 2017 in Performance | 0 comments

Tonicization. That’s a mouthful. Basically, it’s how and why there are so many chord changes in jazz songs. Understanding – and hearing – changes as setting up and resolving to different places allows us to phrase around them. That’s what the horn player and pianist and bassist are doing. So should we.

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Practical Jazz Theory for Drummers, Part 10: Resolutions

Posted by on Jan 30, 2017 in Performance | 0 comments

Now let’s order all these chords in a manner that tells a story. You might recognize some of the “lingo” I use, because your jazz musician buddies say these all the time. Now you’ll know that they are talking about. And can start to hear them yourselves.

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Practical Jazz Theory for Drummers, Part 9: Alterations

Posted by on Jan 17, 2017 in Performance | 0 comments

Here’s a short lesson on what all those little things like “b9” “#11” and “b13” mean, and how important they are.

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Practical Jazz Theory for Drummers, Part 8: 4-Note Chords

Posted by on Jan 9, 2017 in Performance | 0 comments

Here’s where it gets jazzy. Once jazz composers stared adding 7ths onto every chord is when the jazz language took on a life of its own.

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Practical Jazz Theory for Drummers, Part 7: Chords of the Major Scale

Posted by on Dec 12, 2016 in Performance | 0 comments

Let’s put our knowledge of Keys/Modes together with our understanding of 3-note chords to build a chord off every major scale. (Probably the most important piece to understanding jazz harmony).

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Practical Jazz Theory for Drummers, Part 6: 3-Note Chords

Posted by on Dec 5, 2016 in Performance | 0 comments

All those big, crunchy jazz chords we hear are based on the same fundamental structures: 3-notes chords. Learning these makes learning those big ones far less scary.

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Practical Jazz Theory for Drummers, Part 5: Modes

Posted by on Nov 28, 2016 in Performance | 0 comments

Again, I’m skipping a bunch of pieces and just hitting the essentials. This time it’s Modes. What are they? How are they created? How are they used? The major scale is at the center of it all.

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Practical Jazz Theory for Drummers, Part 4: Relative Minor

Posted by on Nov 21, 2016 in Performance | 0 comments

In this video, I tackle the concept of “minor” and how it actually is derived from that major scale i’ve been preaching about. ūüėČ

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Practical Jazz Theory for Drummers, Part 3: The Major Scale (& why it’s so important)

Posted by on Nov 14, 2016 in Performance | 0 comments

Let’s break down how to create a major scale, but more importantly, I’m going to explain why it is the Single Most Important element in understanding jazz harmony.

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Practical Jazz Theory for Drummers, Part 2: Keys

Posted by on Nov 7, 2016 in Performance | 2 comments

Jazz tunes change keys a lot. A….LOT. So let’s first understand how a “key” works, and how to identify the 12 Major Keys.

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Practical Jazz Theory for Drummers Introduction

Posted by on Nov 7, 2016 in Performance | 0 comments

This course will walk you through the fundamentals of jazz theory and harmony, and help you understand what is going on in jazz standards so you won’t get lost, so you’ll be able to shape and phrase on a whole new level.

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Understanding Form: Odd Forms, Part 2

Posted by on Oct 31, 2016 in Performance | 0 comments

In this final lesson on “Understanding Form,” I’m gonna cover a handful of other jazz tunes that have weird or “odd” forms at first glance, but can still be broken down in simple terms.

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Understanding Form: Odd Forms, Part 1

Posted by on Oct 17, 2016 in Performance | 0 comments

In the final chapter of the “Understanding Form” series, I’m gonna look at a handful of tunes that we play a lot that have “odd” formal structures.

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Understanding Form: AB, Part 2

Posted by on Sep 10, 2016 in Performance | 0 comments

This content is for members only

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Understanding Form: AB, Part 1

Posted by on Sep 3, 2016 in Performance | 0 comments

The old guard called these “tunes.” They’re short and sweet, and were really popular in the 50’s and 60’s. Let’s look into the things that define this form, and the one target we should be aiming for.

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Understanding Form: ABAC, Part 2

Posted by on Aug 7, 2016 in Performance | 0 comments

Now that we’ve checked out the main structure of ABAC, let’s look at 2 forms known for giving musicians trouble that are variations of the ABAC:

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Understanding Form: ABAC, Part 1

Posted by on Jul 22, 2016 in Performance | 0 comments

It’s the cousin of AABA, so you’ll notice lots of similarities. However, those similarities have a way of making us miss the few parts that are different…and important.

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Understanding Form: AABA Analysis of Joshua Redman‚Äôs ‚ÄúRemember,‚ÄĚ Part 3

Posted by on Jul 16, 2016 in Performance | 0 comments

In this lesson, we’ll finish out the saxophone solo and make some connections about how the whole band starts, develops, and finishes a conversation by using the form.

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Understanding Form: AABA Analysis of Joshua Redman‚Äôs ‚ÄúRemember,‚ÄĚ Part 2

Posted by on Jul 2, 2016 in Performance | 0 comments

In this lesson, we dive back into the Joshua Redman recording of “Remember” and dissect his group’s use of the AABA form to converse. Brian Blade is his usual dominant self on this cut.

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Understanding Form: AABA Analysis of Joshua Redman’s “Remember,” Part 1

Posted by on Jun 17, 2016 in Performance | 0 comments

I break down how Joshua Redman’s quartet (with Brian Blade on drums) converses by using the AABA form. In this lesson, I cover the first 2 choruses, which are chock full of info.

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