Free Jazz Piano Lessons | tjjazzpiano.com

Introduction to Modern Jazz Lines #21-30 - The I-vi-ii-V (I-VI-ii-V) Progression - Jazz Piano Lesson

2013-05-17T16:30:00.000-07:00

This coming week I'll start posting videos from the next Modern Jazz Line series. In this series we will cover how to voice and improvise over the I-vi-ii-V (I-VI-ii-V) progression. This week's video covers an introduction to the progression. In the video you'll discover just what the roman numerals like "ii-V-I" mean, how to construct seventh chords using these numbers and some basic voicing options.

You can find my complete collection of Modern Jazz Line "How to Improvise" playlists below. You may want to review these lessons before continuing with the series. They will give you an excellent introduction to voicing and improvising over the ii-V-I progression.

Modern Jazz Line #1-10 - The "ii-V-I" Progression
Video Jazz Piano Lesson Playlist (YouTube)
Sheet Music Collection for Jazz Piano Lesson (1-10)
Blog Posts for Modern Jazz Line #1-10

Modern Jazz Line #11-20 - The Tri-Tone Substitution
Video Jazz Piano Playlist (YouTube)
Sheet Music Collection for Jazz Piano Lesson (11-20)
Blog Posts for Modern Jazz Line #11-20

Sheet Music: Introduction-to-Modern-Jazz-Lines-21-30-I-vi-ii-V.pdf

Introduction to Modern Jazz Line #21-30:

Modern Jazz Line #20 - Evolution of a Jazz Line

2013-05-03T13:34:00.000-07:00

We reached a milestone of 3000+ subscribers at Tjjazzpiano.com this week! Thank you so much for your shares, favorites, "likes" and everything in between. Here's to doubling the number in the coming year. I am so excited to be sharing all of my exercises with you! Here are 20 Modern Jazz Lines squeezed in to one lesson to say "thanks" for all your support. Enjoy.

Sheet Music for this lesson: Modern Jazz Line #20.pdf

You can find a complete list of my jazz piano lessons here and watch the playlist for either Modern Jazz Lines #1-10 or Modern Jazz Lines #11-20.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #20: +19 other lines!

Watch the video lesson here:

Modern Jazz Line #19 - Sequencing Seconds - How to Improvise

2013-04-26T12:48:00.000-07:00

Stay tuned next week for a special Modern Jazz Line video celebrating our 3000th subscriber!

In this week's Modern Jazz Line we'll tackle a triplet based melody based on arpeggio extensions of each chords. This is the first melody I've published that is written in the 3/4 time signature. Be careful to count and make sure you're playing the rhythms correctly. Any displacement should feel effortless, not forced or disjunct.

Sheet Music for this lesson: Modern Jazz Line #19.pdf

You can find a complete list of my jazz piano lessons here and watch the playlist for either Modern Jazz Lines #1-10 or Modern Jazz Lines #11-20.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #19:

Watch the video lesson here:

Jazz Piano Lesson #46 - Diminished Scale Workout - (Technique/Hanon)

2013-04-22T14:43:00.000-07:00

Sheet Music: Jazz Piano Lesson #46 - Diminished Scale Workout

I've mentioned many times before on this blog how big a fan I am of technical exercises. I feel like my playing is at it's best when I have some sort of daily technique routine. Almost every exercise I work on is played and sung through all twelve keys. For this reason, the technical exercises (ala Hanon) I've been writing lately have been really challenging both my technique and inner singing voice. I have to remind myself that daily slow and patient practice is the key to making these exercises feel effortless.

In this week's lesson we're taking a look at the diminished scale. You may remember the diminished scale topics we covered in some previous lessons. You will hear this scale utilized often in modern improvisation, especially in the playing of Chick Corea, McCoy Tyner and Herbie Hancock. Practice this melody slow at first, somewhere around 40-60bpms. Gradually increase tempo as you become comfortable with each shape and fingering for each scale.

Sheet Music: Jazz Piano Lesson #46 - Diminished Scale Workout

Watch the video lesson:

Jazz Piano Lesson #45 - Trill and Grace Note Exercise - (Technique/Hanon)

2013-04-15T16:39:00.000-07:00

View and download the sheet music: Jazz Piano Lesson #45 - Trill and Grace Note Exercise.pdf

I've mentioned many times before on this blog how big a fan I am of technical exercises. I feel like my playing is at it's best when I have some sort of daily technique routine. Almost every exercise I work on is played and sung through all twelve keys. For this reason, the technical exercises (ala Hanon) I've been writing lately have been really challenging both my technique and inner singing voice. I have to remind myself that daily slow and patient practice is the key to making these exercises feel effortless.

This week's exercise focuses on two important concepts. The first is building speed. I once read the Franz Liszt spent the majority of his technical practice time playing trills. It was his opinion that trill practice was the key to his technical mastery of the keyboard. I think there's some truth to his opinion. After only a week of practicing this exercise I felt much more comfortable playing on fast tempo tunes.

The second concept presented in this lesson is the idea of adding ornamentation to your lines. Ornamentation (trills, grace notes, mordents, appogiaturas, etc) became very common in early Baroque composition and performance. This tradition of ornamentation was often payed homage to by Classical composers who immediately followed the Baroque period.

Ornamentation later started to appear in jazz music as well. First in grace notes and slight modifications of Ragtime tunes by Stride pianists and later in be-bop improvisations by pianists like Bud Powell. Take a listen to any solo by Bud Powell, Chick Corea, McCoy Tyner or Herbie Hancock and you're bound to hear them using some of these devices.

View and download the sheet music: Jazz Piano Lesson #45 - Trill and Grace Note Exercise.pdf

Modern Jazz Line #18: Triplet Displacement in 3/4 Time - Piano Jazz Melodies

2013-04-08T14:26:00.000-07:00

Today my youtube channel Tjjazzpiano reached 500,000 views (and 2700+ subscribers). The blog has also just reached 100,000 in just over the one year since I bought the domain and began posting. Thank you so much for your support! I couldn't have done it without all you loyal readers and subscribers.

Sheet Music for this lesson: Modern Jazz Line #18 .pdf

You can find a complete list of my jazz piano lessons here and watch the playlist for either Modern Jazz Lines #1-10 or Modern Jazz Lines #11-20.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #18:

Watch the video lesson here:

Jazz Piano Lesson #44: Major Pentatonic Workout (Pattern/Technique)

2013-04-01T16:42:00.003-07:00

I've mentioned many times before on this blog how big a fan I am of technical exercises. I feel like my playing is at it's best when I have some sort of daily technique routine. Almost every exercise I work on is played and sung through all twelve keys. For this reason, the technical exercises (ala Hanon) I've been writing lately have been really challenging both my technique and inner singing voice. I have to remind myself that daily slow and patient practice is the key to making these exercises feel effortless.

In this week's jazz piano lesson we will be taking a look at the Major Pentatonic scale. The pentatonic scale is a very old traditional five note scale that is often used in jazz improvisation. Some of my favorite jazz masters known for their mastery of pentatonics include McCoy Tyner, John Coltrane, Woody Shaw and Chick Corea. Any of these great players is well worth checking out.

The construction of the pattern used in the jazz lesson is discussed in the video below. Suggestions for practice are also included.

Sheet Music: Jazz Piano Lesson #44 - Major Pentatonic Workout (.pdf)

Video Lesson:

Modern Jazz Line #17 - Cliche Lick with a Twist - Jazz Piano Lesson

2013-03-29T12:56:00.000-07:00

This week's modern jazz line is inspired by a very common bebop phrase I hear a lot of musician frequently playing. There's nothing too chromatic or "out" in this line but I think it still carries a modern feel.

Sheet Music for this lesson: Modern Jazz Line #17 .pdf

You can find a complete list of my jazz piano lessons here and watch the playlist for either Modern Jazz Lines #1-10 or Modern Jazz Lines #11-20.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #17:

Learn how to practice this jazz piano lesson here:

Jazz Piano Lesson #43: Seventh Chord Workout - Harmonic Minor

2013-03-22T14:19:00.001-07:00

Jazz Piano Lesson #43 - 7th Chord Workout - Harmonic Minor (Jazz Hanon)

These exercises for the jazz pianist (or any musician for that matter) are as technical as they are practical. The goal for each exercise is to focus on an essential jazz improvisational element while improving speed and fluidity. I hope you enjoy these exercises and would love to see some videos of my viewers playing through them.

Please watch the first exercise of this jazz piano technique series before continuing with this lesson by clicking here.

Click to view the sheet music to this lesson:
Jazz Piano Lesson #43 - 7th Chord Workout - Harmonic Minor (Jazz Hanon)

Watch the accompanying jazz piano video lesson:

Modern Jazz Line #16 - Modern Diatonic Melody - Inspired by Keith Jarrett

2013-03-20T12:13:00.000-07:00

This week's modern jazz line is inspired after listening to Keith Jarrett's solo record "Staircase." Jarrett's solo work is long lasting proof that you don't have to play "outside" to create moving modern melodies.

Sheet Music for this lesson: Modern Jazz Line #16 .pdf

You can find a complete list of my jazz piano lessons here and watch the playlist for either Modern Jazz Lines #1-10 or Modern Jazz Lines #11-20.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #16:

Learn how to practice this jazz piano lesson:

Jazz Piano Lesson #42: 7th Chord Workout - Melodic Minor (Jazz Hanon)

2013-03-18T17:55:00.000-07:00

Jazz Piano Lesson #42 - 7th Chord Workout - Melodic Minor (Jazz Hanon)

These exercises for the jazz pianist (or any musician for that matter) are as technical as they are practical. The goal for each exercise is to focus on an essential jazz improvisational element while improving speed and fluidity. I hope you enjoy these exercises and would love to see some videos of my viewers playing through them.

Please watch the first exercise of this jazz piano technique series before continuing with this lesson by clicking here.

Click to view the sheet music to this lesson:
Jazz Piano Lesson #42 - 7th Chord Workout - Melodic Minor (Jazz Hanon)

Watch the accompanying jazz piano video lesson:

Modern Jazz Line #15 - Harmonic Minor - Tri-Tone Substitution (ii-V-I)

2013-03-15T13:11:00.000-07:00

I hope you enjoyed watching the first 10 lessons from my Modern Jazz Line series. In these jazz lessons I covered how to become a better improvisor using the ii-V-I progression as a guide. The next Modern Jazz Line videos will cover the tri-tone substitution used in the context of a basic ii-V-I progression (see example below). If you haven't read or watched my explanation of the tri-tone substitution you may want to check it out before continuing with the lesson below.

Sheet Music for this lesson: Modern Jazz Line #15 .pdf

You can find a complete list of my jazz piano lessons here and watch the playlist for either Modern Jazz Lines #1-10 or Modern Jazz Lines #11-20.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #15:

Learn how to practice this jazz piano lesson:

J.S. Bach - Sinfonia #10 (G Major) - Three-Part Invention

2013-03-13T08:29:00.000-07:00

Here is J.S. Bach's Sinfonia #10 in G Major. I wasn't quite able to get it up to the Glenn Gould tempo. In the end I decided I'd rather sacrifice clarity for speed. I've been working on speed again lately so it is possible I will revisit this composition in the future.

To check out my complete playlist of Bach recordings click here:
J.S. Bach Three-Part Sinfonias Playlist
J.S. Bach Two-Part Inventions Playlist

Jazz Piano Lesson: 7th Chord Major Scale Workout (Jazz Hanon)

2013-03-11T14:00:00.003-07:00

Jazz Piano Lesson #41 - 7th Chord Workout - Major (Jazz Hanon)

After graduating college I became a scale and Hanon exercise junkie. I usually spent 1-2 hours every single morning playing through my Hanon book. At one point, I had all the exercises memorized in ALL 12 keys! Becoming bored with the sameness of the Hanon exercises I decided to take on the Tristano method of scale practice. I spent a year playing scales at an ultra slow tempo (40-60) and then playing polyrhyhmic variations of each scale (3 against 2, 2 against 3, etc).

After completing most of the Tristano method of scale practice I decided to replace my daily exercises with Bach etudes. Over the past year I've completed all 15 two-part Bach inventions and just finished learning my 10th three-part Sinfonia. The Bach pieces have greatly improved my technique and musicality but I'm left feeling a little sluggish after not practicing scales for a year. That is why I've decided to write some of my own "Hanon" exercises.

These exercises are as technical as they are practical for the jazz musician. The goal for each exercise is to focus on an essential jazz improvisational element while improving speed and fluidity. I hope you enjoy these exercises and would love to see some videos of my viewers playing through them.

Up first, 7th chord arpeggios through all the major scales.

Click to view the sheet music to this lesson:
Jazz Piano Lesson #41 - 7th Chord Workout - Major (Jazz Hanon)

Watch the accompanying jazz piano video lesson:

Modern Jazz Line #14 - Whole Tone Line (Tritone Sub)

2013-03-07T14:45:00.000-08:00

I hope you enjoyed watching the first 10 lessons from my Modern Jazz Line series. In these jazz lessons I covered how to become a better improvisor using the ii-V-I progression as a guide. The next Modern Jazz Line videos will cover the tri-tone substitution used in the context of a basic ii-V-I progression (see example below). If you haven't read or watched my explanation of the tri-tone substitution you may want to check it out before continuing with the lesson below.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #14:

Sheet Music:

Modern Jazz Line #14 .pdf

Video Lesson:

Jazz Piano Lesson #40: Stride Piano Run (Art Tatum/Thelonious Monk)

2013-02-26T12:30:00.001-08:00

This week's lesson marks number 40 from my YouTube jazz piano lessons series! Thank you so much for your support and feedback about the lessons. I hope we can continue to grow and positively influence the experience of improvisors around the world.

You can get the sheet music to all 40 lessons here: Complete Lessons 1-40 in downloadable .pdf

- They are currently specially discounted 66%. I will be raising prices soon so if you're interested now's the time to buy.

In this week's jazz piano lesson we tackle a descending run inspired by Art Tatum and Thelonious Monk. I use the run at the end of tunes but you may also incorporate it in to normal improvisation. Both players were heavily influenced by Harlem Stride Piano of the 1920's and 30's. Check out the videos after the lesson for a brief video history of Stride Piano.

Download the Sheet Music: Jazz Piano Lesson #40: Stride Piano Run (Tatum/Monk) .pdf

Video Lesson #40:

Here's a brief but interesting look at the evolution of Stride Piano.

James P Johnson "The Father of Harlem Stride Piano"

Here is James. P Johnson playing the Fats Waller composition "Honeysuckle Rose" in 1930. You can hear the evolution of Harlem Stride piano throughout this recording. Look for elements of both Ragtime and Boogie Woogie throughout the performance.

Teddy Wilson
Mostly know for his "Swing" piano style, Wilson was also well versed in Stride as shown in this 1939 recording of Tiger Rag.

Art Tatum
Fats Waller once said "God is in the house" when hearing of Art Tatum walking in to the club he was playing at. Listen for the descending runs that influenced the above lesson.

Thelonious Monk
Monk gives no indication in his performances in group settings that he is capable of such thrilling Stride piano playing. Check out his performance of "Nice Work if You Can Get It" below.

I will do a much more thorough review of Harlem Stride Piano in the future. Hope you enjoyed this brief but interesting summary.

Modern Jazz Line #13 - Delayed Resolution Augmented - Tri-Tone Sub

2013-02-22T13:05:00.000-08:00

I hope you enjoyed watching the first 10 lessons from my Modern Jazz Line series. In these jazz lessons I covered how to become a better improvisor using the ii-V-I progression as a guide. The next Modern Jazz Line videos will cover the tri-tone substitution used in the context of a basic ii-V-I progression (see example below). If you haven't read or watched my explanation of the tri-tone substitution you may want to check it out before continuing with the lesson below.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #13:

Get the sheet music:

Modern Jazz Line #13 .pdf

Watch the lesson:

Modern Jazz Line #12 - Simple Pentatonic Melody

2013-02-18T09:28:00.000-08:00

I hope you enjoyed watching the first 10 lessons from my Modern Jazz Line series. In these jazz lessons I covered how to become a better improvisor using the ii-V-I progression as a guide. The next Modern Jazz Line videos will cover the tri-tone substitution used in the context of a basic ii-V-I progression (see example below). If you haven't read or watched my explanation of the tri-tone substitution you may want to check it out before continuing with the lesson below.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Modern Jazz Line #12 in the key of C:

This week's modern jazz line is a simple pentatonic melody over a ii-V-I progression. Below is a list of the pentatonic scales used for each chord.

Dm7 = F Major or D minor pentatonic

Db7 = Db Major Pentatonic

CMaj7 = C Major Pentatonic

Sheet Music for Modern Jazz Line #12: Modern Jazz Line #12 - Simple Pentatonic .pdf

Jazz Piano Lesson #39: Whole Tone Scale Fingering and Construction

2013-02-15T15:05:00.000-08:00

The Whole-Tone Scale is compromised of a series of ascending and descending whole-steps. You can create the scale off of any root by simply playing up or down in whole-steps until you reach an octave above or below the root. The Whole-Tone Scale is a symmetrical scale which means that its intervals equally divide the octave. This is good news for players wanting to memorize the scale because it means there are only two variations in fingering and construction.

The Whole-Tone Scale is also inversionally symmetrical. This means that when inverted, the interval arrangement of the scale and the notes of the scale remain identical. Let me show you what I mean.

C Whole Tone:
C, D, E, F#, G#, Bb

Lets invert the scale by transposing the C up an octave. We now have a D Whole-Tone Scale.

D Whole Tone:
D, E, F#, G#, Bb, C

Same intervals. Same exact notes!

So once you've learned the fingering and notes to the C Whole-Tone scale, you've also learned D (and E, F#, Ab, Bb).

The other variation of the scale can start on either B, C#, Eb, F, G or A. The same rules stated above hold true for these scales. Click below to view the sheet music to this lesson and follow the steps in the video for mastery.

Sheet Music: Jazz Piano Lesson #39 - Whole Tone Scale Fingering Exercise .pdf

YouTube:

Modern Jazz Line Demonstration

2013-02-13T11:20:00.000-08:00

By request, here is Modern Jazz Line #11 played at goal tempo. I ~~could~~ should have played this with a metronome and you should too! It can take me anywhere from 48 hours to a week to begin to feel comfortable with a new line. For YouTube purposes, I try to write lines based around a jazz concept. For example, the ii-V-I or the Tri-Tone substitution. However, when at home or teaching a student I try to write a line that is just out of reach of my (or the students) technical ability. I learned this from watching Kenny Werner's Effortless Mastery DVD and have found it to be an extremely rewarding practice technique.

Modern Jazz Line #11: The Tri-Tone Substitution

2013-02-11T10:58:00.001-08:00

I hope you enjoyed watching the first 10 lessons from my Modern Jazz Line series. In these jazz lessons I covered how to become a better improvisor using the ii-V-I progression as a guide. The next Modern Jazz Line videos will cover the tri-tone substitution used in the context of a basic ii-V-I progression (see example below). If you haven't read or watched my explanation of the tri-tone substitution you may want to check it out before continuing with the lesson below.

Introduction to the Tri-Tone Substitution: The Tri-Tone Substitution

Sheet Music for Modern Jazz Line #11: Modern Jazz Line #11.pdf

Video Lesson Guide:

Tri-Tone Substitution - Introduction to Modern Jazz Lines #11-20

2013-02-07T15:13:00.000-08:00

This week I'm beginning the next section of my Modern Jazz Line video series. The goal of the first ten Modern Jazz Lines was to learn how to hear and improvise creatively over the ii-V-I progression. Now, I'll admit ten jazz melodies played and sung in all twelve keys probably isn't enough to justify mastery. Please note however that these short ten video segments are meant as an introduction to each progression. As with all subjects, student exploration and self study is essential to mastery. I strongly encourage you to take on writing your own ii-V-I jazz melodies no matter how simple they may be.

The next section (#11-20) of the Modern Jazz Line series will cover the tri-tone substitution. A "tri-sub" within a ii-V-I involves substituting a Dominant 7th chord a tri-tone away from the V7 chord. The concept is explained simply in the video below.

Simply put, you can substitute a Dominant 7th chord a tri-tone away from the V chord (in a ii-V-I for example) because they share the same guide tones.

G7 = 3rd and 7th = B and F
Db7 (tri-sub) = 7th and 3rd = B and F!

If voiced correctly the two chords can and will function essential the same in a ii-V-I sequence. If finding a tri-tone away from the V7 chord is hard at first just think a half-step below the ii chord. I'll show you what I mean.

ii-V-I in C Major = Dm7-G7-CMaj7

with a tri-sub on the V7
ii-V-I in C Major = Dm7-Db7-CMaj7

Notice the root movement of the new progression. Each note simply moves down in half-steps. Feel free to use this method if it is easier for you to remember.

Modern Jazz Line #10 - Large Intervals and Triads

2013-02-01T12:35:00.000-08:00

Hearing large intervals, particularly descending 6ths and 7ths, have always been a big challenge for me. For this week's Modern Jazz Line I've decided to tackle some of those tricky intervals using triad embellishment. Try to notice which intervals you struggle the most with. You may want to identify these intervals for later isolated practice through all 12 keys.

The embellished superimposed triads for each chord are as follows.
Dm7 = FMajor Triad (i.e. 3-5-7 of Dm7)
G7 = AMajor Triad (9-#11-13 of G7)
CMaj7 = DMajor Triad (9-#11-13)
C6 = n/a

Sheet Music for this lesson: Modern Jazz Line #10 .pdf

Follow the steps in the video below for mastery of this jazz lesson.

J.S. Bach - Sinfonia #9 in F minor - BVW794

2013-01-30T22:26:00.002-08:00

I've been using Bach Inventions and Sinfonias for the past year or so as a daily technical exercise. I spend about an hour each morning working slowly through challenging sections of the music. After about two weeks I record a performance and post it to my YouTube channel. The goal of these videos is to track my progress and growth over the course of studying J.S. Bach's counterpoint. I do not consider myself a professional classical pianist but I still hope you enjoy my best (albeit amateurish efforts) at performing Baroque music.

Check out my reasoning for practicing Baroque music as explained in this previous blog post.

Lesson #38: Thirds and Sevenths Voicing Exercise (Part 2)

2013-01-28T15:03:00.000-08:00

In this week's lesson we'll be taking a look at a slight variation on Lesson #37 (3rds and 7th Singing Exercise pt.1). In our last lesson we took simple 3rds and 7ths voicings through all twelve keys using the circle of fourths. This time we'll use a pattern of ii-V-I resolving in descending whole-tones. I find this progression to be much easier to sing through than the circle of fourths. There is less jumping around and the voice leading from key to key is generally much smoother.

This exercise is simple but essential to any pianist (or jazz instrumentalist) wanting to improve their understanding of chord progressions. The cycles we've been practicing and the resolutions of 3rds and 7ths voicings can be found in every jazz standard ever written. Even most contemporary compositions retain these foundational building blocks of harmony. Work through the steps in the exercise slowly and soon you will be able to hear these foundational elements of harmony clearer than ever before.

For an added challenge start playing the 3rds and 7ths voicings in your left hand. Resolve them the same way as Lesson 37/38 and try to incorporate them in to the tunes you're working on. All the great jazz pianists including Bill Evans, McCoy Tyner, Bud Powell and Herbie Hancock used these simple voicings. We'll continue to discuss how to use them while improvising in the following weeks.

Download the Sheet Music: Lesson #38 .pdf

Watch the lesson: