6 Common Chord Relationships that You Need to Know Now
How do I connect chords when I’m soloing? You’re asking yourself this question in the practice room and you’re frustrated when there doesn’t seem to be an easy answer. But you’re not alone. This is a question that every improviser struggles with as they create solos over tunes. Improvising over one chord is simple enough, ...
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Know the Rules then Break the Rules
You have to know the rules before you can break them. You’ve probably heard this well-intentioned phrase before. It’s as common and overused as “Practice makes perfect” or any of the countless other sayings that we encounter when it comes to learning a musical instrument. As students of the music we get bombarded by these ...
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Your Next Musical Milestone: Chromatic ii-V’s
The process of learning to improvise is a journey. A long and rewarding journey and one that is punctuated by a series of milestones. This can be hard to see from that comfy seat inside of your practice room, but take a step back from your daily routine and look at the path that brought ...
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How to Learn Jazz Improvisation: The Ultimate Guide
So you want to learn how to improvise jazz and that’s great, but where on Earth do you start jazz improvisation?!?! There’s so much information out there that figuring out where to begin playing jazz is a complete nightmare. But I’ll tell you this right now…If I could start jazz improvisation again today, I’d do ...
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Getting Stuck In ii V Land
Just learn a few ii V licks in all keys, learn how to use them, and that’s jazz, right? Unfortunately not. ii Vs make up the bulk of chord progressions found in all western music from classical to pop music, hence, ii Vs are necessary to master. However, a common result from working on ii ...
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Understanding Chord Tones
Recently we’ve gotten a few questions regarding chord tones: how to work on hearing them, how to aim for them in your lines, and how to connect them when you’re improvising over a chord progression. Understanding the sound and function of chord tones is important to your success as an improviser. However, it’s important to ...
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Why You Still Suck At Half Diminished Chords
Half-diminished chords are difficult, but they don’t have to be. In How to Not Suck At Half-diminished Chords, I presented a simple way to start to improve at these often neglected chords and if you practiced the exercise in that article, you will without a doubt have made progress. But even with some concentrated effort ...
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Formulas For Applying Jazz Language To Different Harmonic Situations
As the article last Wednesday discussed, learning to apply language to tunes is crucial because it puts the language into context, allowing your ears and fingers to gain an understanding of how to integrate the language into your overarching concept. Over time, the language you practice this way will spontaneously materialize in new form, surprising ...
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7 Harmonic Breakthroughs that Completely Changed My Playing
Every so often you’ll make a musical discovery that will drastically change the way you approach improvisation. One day you’re struggling over the same tunes, growing more and more frustrated with your own predictable patterns and then it hits you – you discover a secret that was hidden right before your eyes. A subtle mental, ...
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Dealing With Non-standard Progressions
Recently we received a question about non-standard progressions, specifically the type of progressions you see in Wayne Shorter and Joe Henderson tunes… These types of tunes are notoriously difficult, as they don’t seem to use the same predictable chord progressions that other jazz tunes do. A reader asks: When we’re learning, we go through a ...
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Slash Chords Made Simple
A reader recently sent in this question: “I was wondering if you could explain to me how to interpret slash chords for soloing. It seems like different sources have conflicting information. Also, what would I do if I encountered a chord like C/Db, in which the top and bottom are not related diatonically?” Slash chords ...
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Two-Five Substitutions in a Flash
Everybody wants to play “outside” the chord changes. They think there is something mysterious about getting outside the changes. In my experience, the phenomenal players that I’ve studied with along with the legendary players I’ve learned from on recordings, approach playing outside the harmony much in the same way they approach playing inside the harmony: ...
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