 "I have been a student with David for the past couple of years. While my primary instrument is Trumpet, I decided to take piano to broaden my knowledge. I have never had music theory, either in school or private lessons. David is taking me there through the piano. He assured me that all the skills I would learn through theory and practice on the piano were transferable to other instruments. David has a way of simplifying theory concepts, making them easier to understand.
I had an opportunity to play Trumpet at a private service recently. Playing completely solo - no other musicians. One piece happened to be the one David and I were working on. Everything we had done came into “play” and those skills I have learned completely transferred to my Trumpet and I played the best I have ever played. When you ask yourself, “Do I really need to know this?” I can honestly say, Yes! and it pays off in performance quality." Barb Thank you, Barb.
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 This is a perennial favorite of music students. Let's look at a few key terms and concepts. Canon is a melody that accompanies itself at a staggered interval. Row, row, row your boat is a well-known example. In this canon the melody, played by the violinists, follows itself in two measure intervals. Ground Bass is the violoncello melody that repeats its 8 note pattern throughout the piece. Cembalo or continuo is the chordal accompaniment that is improvised behind the violins. In this video it is played by the organ and the lute. Notice that the cembalo left hand outlines the ground bass. Other notable orchestral canons can be found in J.S. Bach’s Musical Offering. The canons in that suite of pieces feature 2 violins chasing each other around accompanied by the continuo. Have Fun. David  This African rhythm is found throughout the popular music of the Americas for centuries. Here it is applied in a jazz context. You will hear it in the introduction of "The Entertainer" by Scott Joplin, The Charleston by Green Hill, and Chinatown by Teddy Wilson. It is still heard today loudly emanating from the cars of young men. Jelly Roll Morton called it the "Spanish tinge." You can hear it in "The Crave." It is also called the Habanera Rhythm as heard in the introduction of St. Louis Blues. 
So many beautiful pieces to learn and so many chords to master. It's a real problem for beginning jazz students. Lester Young, the legendary sax player of the 1940's, is known to have requested or demanded that the pianist play the "vanilla chords." "Forgot the fancy reharmonizations, just give me the vanilla chords; I'll decorate the harmony." Or something to that effect. It was a story told to me many decades ago. So, here are the vanilla chords for hundreds of jazz standards. Let it be your guide to taking the harmony back to a more manageable level.  Me: What was Lester Young referring to when he said play the vanilla chords?
ChatGPT: Lester Young was known for his distinctive and influential saxophone playing style in jazz music. There are a few different stories and interpretations of what he meant when he referred to "vanilla chords." One interpretation is that Young was encouraging his fellow musicians to stick to the basic, fundamental chords in a song, rather than adding too many complicated or unusual harmonies. In this sense, "vanilla chords" could be understood as simple and straightforward chords that provide a solid harmonic foundation for improvisation and soloing. Another interpretation is that Young was referring to the use of the basic major and minor chords in a blues progression. In this context, "vanilla" could be seen as a metaphor for the basic, essential ingredients of a blues song, and Young was emphasizing the importance of staying true to that traditional form. However, it's worth noting that the exact phrase "vanilla chords" does not appear in any known recordings or transcripts of Young's performances or interviews. So the meaning of the phrase remains somewhat elusive and subject to interpretation.  Jazz students are often looking for new chords for the standards they are playing. This blog offers you some suggestions if you are unable to transcribe. 1. The iReal Pro app is a useful source. It doesn't always have the most exciting chords, but it does help you move on from the fakebook. 2. YouTube transcriptions, though not always reliable, will help you explore new harmonic ideas. 3. The Real jazz Solos Book by Hal Leonard is a reliable book to consult. Have fun. David  
Learning Blue Bossa in 6 KeysMaterials required:
 Lesson to play in 6 keys:
 3. Play the melody in the following keys: Cm, Am, Em, Dm, and Gm. Follow the instructions in step 1 after you review the natural minor scales and the major scales ½ step above these minor scales.
4. Now add the chords. To transpose the chords, you must do the following steps. Write out the c natural minor scale: C D Eb F G Ab Bb C. Directly below these letters write the scale of the new key, say f minor: F G Ab Bb C Db Eb F. Be sure the letters line up. C is directly above F and so on. Then, C minor chord becomes F minor chord, F minor chord becomes Bb minor and so on. Write out the scale of Db: Db Eb F Gb Ab Bb C Db and then the scale ½ step above f minor, in this case Gb: Gb Ab Bb Cb Db Eb F Gb. The chord qualities, of course, remain the same. 5. What do we learn?
David Harmonizing chords using the strict rules of chorale writing (SATB) is a time-honored way to get started with harmony. I'd be happy to help you, just call me. Rules 1. Spacing between SA and AT cannot exceed an octave 2. Range of SATB should be reviewed before starting. 3. Double the root, but never in consecutive voices. 4. No voice crossing within a measure. 5. All chords must have a 3rd. 6. Common tones repeat, most of the time. Computer realization of the exercises.I've used a simplified "lick" from a Wynton Kelly recording of Autumn Leaves. You may recognize it. Here is a method to integrate this, or any other "jazz lick" into your playing. First, play the lick as written, then write out the lick in the keys of C, Eb, F, G, Gb using the following steps. Materials needed:
Prerequisite knowledge required:
Steps:
Have fun.   Sight-reading tips
Short story As a teenager I had the worst practicing habits. I had no focus or commitment to any task except sightreading, which was fun and easy. I loved spending hours reading my mother's piano books, so it is no coincidence that I've spent the last 45 years making a living as a sight-reader. First as a professional pianist and later as a teacher. Eventually though, I did get my practice habits straightened out and the rest is history. David Revised August 2022 Many poor readers erroneously believe that printing the note names on their music will help them to read the music easier. This is a misunderstanding of how you will read music. Music moves too quickly in time to identify all the notes as you play. Instead of seeing single notes, you need to see patterns of notes. One important source of this pattern knowledge comes from understanding musical rudiments, such as intervals (steps, skips, and repeats between notes), key signatures, harmony (chord recognition), melodic direction (does the melody go up or down?), dynamics (loud or soft), and rhythm. When you print out all the notes, you may skip these important ideas especially rhythm and note direction. This leads to poor results. To read music fluidly you will need to address these knowledge deficiencies. If you would like some help in this area, call me. David Revised August 2022 Sight-readings skills make all aspects of piano study and performance easier.
If I can help you, call me. David Revised August 2022 
These three are the most neglected aspects of music study. Theory Skilled musicians see harmonic, rythmic, and structural patterns in the music, beginners see a string of notes. The purpose of theory study is to help us to see and understand these patterns and their significance, which over time, leads to artistry. As a former teacher put it, "understanding what you are seeing makes everything easier." How you think about the drum set, what you have heard, and what you understand about the musical past of the instrument determine how you play the instrument musically. Ed Soph, master teacher History
Different eras of music sound different. When you understand the broad outline of music history, you will have informed knowledge on the interpretation of the piece. Ear Training Ear training is a wide set of skills:
Some folks have it easier here than others, but I can confidently say that as a kid I started with a tin-ear, but over time, with practice I developed a high degree of skill. I can help you too. Call me. David Revised August 2022 Jazz is primarily about rhythm and articulations, those tricky bits that are impossible to notate. Harmony is like math, fun for many and much easier to get your head around for most than rhythm and articulation. Or so beginners believe. But when the moment of truth arrives at a jam session theory goes mostly out the window and instinct kicks in. Adam Maness explores this theme in his video "Why do I still suck". Jorge Mabarak, on Facebook, puts it well, theory is a tool. I propose that rhythm is the key. And ear training is the secret. Here is a practice time breakdown that may work for you:
If I can help, please call me. David Revised September 2022 I'd forgotten how interesting and satisfying writing a fugue can be. (The fugue's subject was inspired by Billy Joel.) This performance is a computer rendition. To be playable with two hands I'd need to transpose the left hand starting at mm. 8. If you would like some help with music theory call me. Best, David Revised October 2022    Working through the Four Star Books is recommended. An effective book, but, hardly that exciting. So... Sometimes we work out by ear famous Rock era "licks" or motifs from well know melodies. The famous opening melody uses B, C#, and D. Have a listen and give it a go. Classical motives are fun too. Opening motif is in C minor, starting on G. Da da da DAAA, da da da DAA
Have fun. David  Bach - The Complete Sonatas and Partitas for Solo Violin by Arthur Grumiaux Mozart: Fantasia in D minor Classical students 1. Phrasing: Notice how the performer tapers each 2-note slur 2. Chords: Notice how the performer "strums" the chord from the bottom to top note 3. Dynamics: When the music goes up in pitch so does the intensity and vice versa. This is a common effect in classical music performance. Furthermore, phrases which rise often start softer before the crescendo. 4. Bach uses chromatic approach notes into chord tones measure three. Mozart uses these types of figures as well in the 10th measure of his Fantasia in D minor ten. Have fun. David Revised June 2023 Bach - The Complete Sonatas and Partitas for Solo Violin by Arthur Grumiaux |
You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail. AuthorI'm a professional pianist and music educator in West Toronto Ontario. I'm also a devoted percussionist and drum teacher. Categories
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