WILL VINSON: Ask Me Anything! (Edge)

WILL VINSON: Ask Me Anything! (Edge)

Extract the goods from a true master musician & concise teacher

  • * What is your music education background?
  • * How to develop a strong time feel
  • * Which upper structures do you use for going out?
  • * If you could only impart one golden nugget, what would it be?
  • * When improvising across a tune is the key center of the tune part of your harmonic concept?
    Even as the changes may be taking you away from it?
  • * On Foot Tapping (or not)
  • * Do you keep a study journal to focus?
  • * Ever get lost and, if so, what do you do?
  • * How would you describe the concept & execution of jazz feel for an eighth-note line to a student?
  • * Do you still have a practice routine?
HUBERT NUSS: Messiaen Modes applied to Jazz Harmony (Edge)

HUBERT NUSS: Messiaen Modes applied to Jazz Harmony (Edge)

An Introduction to the harmonic colors of Olivier Messiaen

  • * ORIGINS AND BRIEF OVERVIEW: MODES I – VII
    The person / mathematics / nomenclature / the overtone series / tetrachords
  • * THE MAIN COLOR SOURCES
    Mode II, Mode III and „L’Accord sur la Dominante“ (chord on V)
    Basic chord rows and chord symbols
  • * MODE III
    Many ways of harmonic and linear orchestration / carnatic scales
  • * L’Accord sur la Dominante (chord on V), AD
    Colorful voicings / the modal principle
  • * Applying Ollie-Chords to Functional Harmony
    T and D / the double role of S / DD etc. / II V I
  • * OUTLOOK
    New colors by combining Mode III and AD with Bebop-Scales
DAYNA STEPHENS: Rearranging & Reharmonizing Standards (Edge)

DAYNA STEPHENS: Rearranging & Reharmonizing Standards (Edge)

An approach to personalizing melodies that speak to you

  • * Picking a good melody to harmonize
  • * Choosing what bass notes are best for that given melody as counterpoint
  • * Choosing which group of chords fits best to the counterpoint created
  • * Editing the final version making sure it doesn’t take away from the melody or flow of the song
  • * Exploring instrumentations that best fit the reharm
MARC COPLAND: Harmony, the Brain & the Body Vol. 1 (Edge)

MARC COPLAND: Harmony, the Brain & the Body Vol. 1 (Edge)

Why your ears are the master and music theory is the servant

  • * What is harmony anyway…
  • * What has been its function in jazz? Did it change at one point?
  • * How do we hear? How should we hear harmony?
  • * Inner voice movement & its effect on chords
  • * Training yourself to improvise harmony
  • * Why good harmony is like the “fish screensaver”
  • * What’s muscle got to do with it?
JOHN O’GALLAGHER: Post-Tonal Approaches to Improvisation (Edge)

JOHN O’GALLAGHER: Post-Tonal Approaches to Improvisation (Edge)

Expanding your melodic vocabulary beyond functional harmony with pitch-class sets

  • * Post-tonal theory: Basic terms & concepts
  • * Trichordal pitch-class sets: practice methods & transformational development
  • * Improvisation using trichord derived twelve-tone rows
  • * Trichordal formations in Coltrane’s late-period music
  • * Set Class transitions through Hexachord manipulation
  • * Diatonic applications of post-tonal material
BOB SHEPPARD: Creating a Fun Practice Process with Intervals & Rhythms (Edge)

BOB SHEPPARD: Creating a Fun Practice Process with Intervals & Rhythms (Edge)

A personal approach that goes to the core of improvisation

  • * Constructive Noodling; practice what inspires you, expand on vocabulary you already know
  • * It doesn’t matter WHAT you practice but HOW you practice; then how you apply it
  • * Practice needs to include specific, “zen like” focus; identify and zone in
  • * Connecting Ears to Finger, Play Melodies already in your head
  • * Your Ears are the best teacher
  • * Play along to ALL music, learn to hear what you play
GIL GOLDSTEIN: The Nature of Music (Edge)

GIL GOLDSTEIN: The Nature of Music (Edge)

How Joseph Schillinger opened the door to infinite music possibilities

  • * Looking at Graphic Notation: seeing the connection of all the musical elements
    through simple numbers and ratios
  • * The Harmonic Series: The “ruler” of musical language through history
  • * Intervals of the Overtone Series and how they relate to Polyrhythms
  • * 2/3. The Fibonacci series and how to locate it and work with it in music
  • * Joao Gilberto, Early Greek Music, Sidewinder, Maiden Voyage, Bulerias
  • * Golden Section Intervals. Fifth 2:3, Major 6th 3:5, Minor 6th 5:8
  • * Homogeneous Chord Voicings. (Abbey Lincoln, Kenny Barron minor 7th)
DAVID BERKMAN: Guide to Creative Practicing (Edge)

DAVID BERKMAN: Guide to Creative Practicing (Edge)

How to organize, improve & strengthen your practicing to address any weaknesses (while having fun!)

  • * How to practice with enjoyment
  • * The 10 (or so) main problems that all jazz musicians encounter
  • * How to improve your facility soloing over chord changes & understand what jazz solos are comprised of
  • * How to improve your metronomic time & groove
  • * How to improve your fast tempo playing
  • * How to integrate ear training into your practice sessions