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What's going on? Peter Martin here for Two Minute Jazz. What is that? That's the correct introduction to "Footprints." It's a wonderful tune from Wayne Shorter that is often butchered. But we're gonna fix that today. I'm gonna talk to you about how to stop playing this tune wrong. I'm gonna give you three major errors in this and how to fix them.

The first is that bassline and that little counter-melody. It's even part of the melody. Anticipate it, one, two, three... Okay, so you've gotta get that part of the melody right as anticipation and the bassline needs to be on the beat.

You can always leave it later on, but let's start there. Then the next part, F minor, again, we can play whatever we want, but the original stays on that drone, that pedal point C is F minor over C, not F minor. Alright... And it's not perfect fourths, that's a different song. Now can you play that? Sure, you can play whatever you want, but know the original first, okay? So get the right bassline.

All right, the third major thing we're gonna fix today is the changes on the bridge. F sharp half diminished but with that major ninth. And you gotta know the melody and how it lays. Then we go to F13 because that's part of the melody, sharp 11. So F# half diminished with the ninth, natural ninth, F13 sharp eleven, and now we've got E9 with the flatted fifth. Not... or sharp nine. I mean, you can play that, but that's not what Herbie played on the original, on Adam's Apple. And then we got A7 sharp nine flat 13. Then we got blues comin' down.

Okay, fix those three things and you will be jammin' on Wayne Shorter's "Footprints." Happy practicing.

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Hi everybody, Helio Alves here with Two Minute Jazz. One great texture for playing bossa nova piano is to play the whole groove in your left hand, and play the melody (or solo) in your right hand. An important thing to remember is the quarter notes that always have to be there, they always have to be present. Very important part of the groove. That can be with or without the roots of the chord. Basically the technique works like this: with shell voicings, like the root 6 and 3rd or root 7 and 3rd.

So the quarter notes are very important. They're always there. I'm anticipating the chords, too. Without a bass note. The quarter notes are there. So that's a very cool technique to play bossa nova, very nice texture and very useful. Thank you again for listening. Happy practicing!

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========================================================

Hi, I am Edu Ribeiro and welcome to Two Minute Jazz. I'm here now to talk about maracatu. Maracatu is everything from the Northeast of Brazil, from Recife. And it's so hard to play on the drum set because the coordination is difficult. We have to bring the lines of the percussion for the drum set. And they have three special voices that you have put together in this instrument.

The first one, and I think the easiest one, is the snare drum, which is just sixteenth notes playing with a little swing, from that part of Brazil.

We have the alfaia, that's the huge instrument that you play with two sticks.

I can't play that tom and that snare together, and I will try to imitate that with my bass drum. Just with the special and the principle notes from here. I will put the snare drum and the bass drum together.

And there is another important voice of the percussion: that is the agogô. That is the most famous line of this percussion. I don't have the agogô here, and I'm trying to play the agogô from the floor tom and the rack tom to make the different types of sound.

Okay, and I will put together with the bass drum. Note that I play the hi-hat just on the quarter note, on the time. And I did a different sticking for the snare drum to play the right hand with rack tom and floor tom, and the left hand imitating the snare drum.

Okay, happy practicing, and see you next time.

========================================================

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What's goin' on everybody? Peter Martin here for 2 Minute Jazz. Want to talk to you about pentatonics. I've got a brand new exercise for you over C minor, or E flat major, however you wanna think about it. And we go through two different levels, three different rhythms for each one. 

The first thing we're doing, we're starting down here, an octave below middle C. Too many of you are practicing only in this [upper] range of the instrument and then you end up soloing only in these two octaves. We got great stuff down here. Great little tenor region of the piano we wanna explore. So if you wanna play it, you gotta practice in there, okay?

So we're going up. And then we're (on four) coming down and here's our shape, skipping. Lots of use of the four. A lot of you are just playing with one two three and there's some false information goin' out here that you only have to use three fingers. We've got five fingers. If you're not gonna practice with the fourth and the fifth, they're never gonna get strong and independent and be able to at least come close to equaling one two three.

So many situations, what we have to be able to play with strength and agility with our fourth and fifth finger, so we gotta practice it. So I've worked that into the fingering here. And we're just changing up the rhythm.

Level 2A, same thing: goin' up straight. Pentatonic. Now we gotta new shape. And this is really based upon something a lot of players use. That's just going up a half step. So it gets your hand ready for that. And now we're introducing a lot of fifth finger. A lot of you are gonna wanna go four or three there. But the idea is we wanna keep that wrist smoothly gliding up and down.

Pentatonics. Happy practicing!

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Hi everybody, Helio Alves here for Two Minute Jazz. The baião rhythm is a rhythm from the northeast of Brazil and has this basic pattern played by percussion instruments and accordion that's very important for this particular style.

And a typical sound of the baião is this type of sound, which you have the basic percussion pattern in your left hand and the accordion patterns in your right hand. And it sounds like this with a lot of 16th notes, a lot of syncopation.

Another characteristic of this style is the Lydian flat seven scale that's very commonly used.

Thank you very much for listening. Happy practicing! See you soon.

========================================================

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Hi, I am Edu Ribeiro and welcome to Two Minute Jazz. Today, we are going to talk about samba. Bringing the lines of the percussion from the drum set, we have three special lines to put together here.

The first one is the most important for the samba, and that's the surdo that keeps the time for everybody. And the surdo can be very simple, or it could be a little syncopated, but it's going to be hard to imitate with the bass drum. So it could be played less syncopated.

The other instrument is the tambourine, the small instrument that people play in the school of samba. But we have a special clav like that. I'm going to try to put together the tambourine and the bass drum imitating the surdo.

And another one that I'm going to play is the pandeiro that people play with two hands. I'm going to try to play all the sixteenth notes with my right hand on my hi-hat. Then I'll try to put it all together.

There is another instrument called the agogô. I'm going to try to imitate two songs with my tom and my floor tom.

Okay, happy practicing and see you next time!

========================================================

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What's going on everybody? Peter Martin here for Two Minute Jazz. Hope you're doing well. Got a quick tip to you today on diatonic fourth voicings. Just playing around a little on "If I Should Lose You" and I was just thinking about the uses for this on ballads. 

But even if we take the tempo up. If we look at like a basic fourth voicing over G minor. Three notes in the right hand, two in the left hand. If you have the ability to move through this and really all the different scales with this shape diatonically, you're gonna have some nice things that can happen. For your comping, for your soloing, for a lot of things.

So, these are all fourths on the Dorian, right? Starting on the root. So, you wanna have that in all the different keys. And kind of understand them, like that's over F minor. But it works in fourths over E flat major. 

So, if you're on like a ballad. You're moving in and out of them but that's the foundation is that diatonic. If you combine that with an understanding of a chromatic, you're really getting somewhere.

And you can think about these melodically as shapes too. But you gotta have a handle on all those, right? In all your different keys so that you can do that.

All right, have fun with that. Diatonic fourths. Peace. Happy practicing.

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========================================================

Hi, I am Edu Ribeiro and welcome to Two Minute Jazz. When you see the 16th note written like a samba pattern, and you have just something that's so different, that when you have to play that rhythm. And the exercise that I created to make a real different 16th note with a little swing, it is something like that. 

You have to think, first, in the síncopa with the left hand. And two eighth notes with the right hand like that. And the other exercise, you think about three against two. Three with the left hand and two with the right hand. And now try playing two bars with the síncopa and two bars with the triplets against two. And now we have to take off the first note off my left hand of each tempo.

I hope that's gonna help you to try to imitate that thing that people do in the school of samba. Just with your hi-hat. Okay, and that is something that you can find in my course from Open Studio. And you're gonna have more details there. And I hope you enjoyed, and see you next time.

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========================================================

Hi, I'm Edu Ribeiro and welcome to Two Minute Jazz. You know what those rhythms that I just played now have in common? Every rhythm was the same sub-division, in 16 notes, and often this rhythm has the same time signature: 2/4. And all of these rhythms were Brazilian rhythms. And that's something that people maybe don't know. That if they are different rhythms, you could combine these rhythms. You could play this rhythm in the same song, and with some parts you play samba and a different part you play a baião, or in the same part of the music you play both.

And talking about the 16 notes, if you play samba, that is the most common Brazilian rhythm. You have the pandero, the tambourine doing chika chika, that I'm going to imitate with my right hand or on the hi-hat or on the cymbal.

If you have to play a baião, you have the triangle that goes: ticka ticka ticka. That I'm going to try and imitate with my hi-hat too.

If you're going to play a maracatu, the snare drum does the 16 note all the time.

And even if in the rhythm there is no percussion instrument playing out the 16 note, the subdivision of the clave will be in 16 notes, as in the afoxê from Bahia.

That is one thing that we're gonna practice together here, the combination of this rhythm.

Happy practicing.

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What's going on everybody, Peter Martin here for 2 Minute Jazz. Wanna talk to you about patterns, which is a little bit of a dirty word for me, but there I said it. But I want to talk to you about how we can play patterns, without them sounding like patterns.

Now, a pattern is anything that's repeated, it could be anything that you repeat and move around. So, how do we play them? Because actually patterns and art and music and nature are very important, and they form a great foundation for some of our great improvisations.

So, I was kind of playing around on "Someday My Prince Will Come," and when I get this D flat diminished, a little bit of a problematic chord for many of you. So that's a place where sometimes we'll take a pattern, we'll take an easy phrase, and then repeat it.

So we're just going up the diminished whole halves, I guess it is. In broken minor thirds. Over a little triplet thing. That's fine but it sounds a little corny. And then especially if we keep moving it into that C minor.

So, there's some little things we can do though. So there I'm just I'm a little out of time, we'll pull it back into time, but I'm going up the scale, the diminished, but then I start going chromatic, and kinda change up the time also, so if I start out triplets, it makes it a little more organic, it makes it more like, you know, you'd sing it or something although you'd be a heck of a singer to be able to do that, but harmonically and melodically that chromaticism really kinda adds something I think nice.

Other things you can do is to keep the same interval but then change direction, and doing it in a kind of random and organic way. And if you combine that with the chromatic, then it sounds like it's not a pattern, but it actually is.

All right, have fun with that, happy practicing.

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What's goin' on, everybody? Peter Martin here for Two Minute Jazz. Just wanted to throw one little left hand technique. We got a lotta cool things we can do over Chick Corea's "Spain" to get that groove going.

But one that I realized I do sometimes, kinda wish I did it more, is just the concept of root and five, root and six, and root and seven. Real simple little melodic play.

So it's just a little bit of a melodic concept. And you know, you gotta check on each chord which ones of 'em sound good, some of 'em sound better than others. But you can do 'em on almost every chord.

And you know, different orders, playing around with them, but it's just a little bit of a melodic play, little countermelody thing to get a little action in the left hand that's a little different than some other things.

All right, have fun. Happy practicing.

========================================================

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========================================================

This is Ulysses Owens, Jr. with Two Minute Jazz. We're going to talk about a guy by the name of Warren "Baby" Dodds. Baby Dodds was one of the first great jazz drummers that really started out jazz swing drums. But, because the sound of the drums and jazz drums had not evolved yet with the ride cymbal, he created playing time and keeping time with this cool pattern, that comes out of the New Orleans rhythm on the snare drum.

The cool thing is he's taking a quarter note, a buzz roll, and he's making that groove, alright?

Also, he had wood blocks. He had some other auxiliary percussion as a part of his drum kit, and he would make it sound like this.

Then, you get to the swing drum era and with that era you start playing on the hi-hat.

But none of that would be possible if not for Baby Dodds introducing this.

Check out Baby Dodds 'cause it all began with him.

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What's going on everybody? Peter Martin here, just wanna talk a little bit about two-handed voicings, use of fourths that can be so useful. Just playing around a little bit over "Autumn Leaves." And especially when you combine them with other types of voicings, maybe even kind of block chords situations. Kind of traditional stuff.

And then when we play in the fourths, these are all perfect fourths and there's certainly a lot that you can do just moving around chromatically. But don't sleep on the diatonic movement with those fourths.

What I mean there is we're just going up, C minor Dorian. You can throw in some chromatic chords too, but the idea being that we don't have to just do, we could do diatonic, just going up that C Dorian scale or B flat major scale.

So, you wanna have those in your hands. You can go six notes, you can go five, you can go four. But when you combine them with other voicings, that's when it gets really interesting. Right?

All right, happy practicing.

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========================================================

Two-Minute Jazz with Ulysses Owen, Jr. We're gonna talk about playing fast.

The key to playing fast is playing slow first. There's nothing that I can play fast that I can't first play slow. When you learn how to play slow, you learn the right placement, right? So you get on the ride symbol, you consistently play in the same position, you learn how to feather, the hi-hat on two and four.

But there is a little secret that many don't talk about that helps you to play fast. That's something called breathing. When I play fast at a fast tempo, I'm always breathing, and the more that I breathe, the more that I can stay relaxed while playing fast.

Another thing is using your hands and your wrists and keeping the mobility in those hands and wrists depends on very much on being able to breathe, okay? So, I'll start slow and then play faster and faster, but watch my breathing change.

And the key thing about breathing is that you have to breathe more often the faster you play. The other thing is you have to play more simple. When you play fast, you have to focus on what is the rhythm I'm gonna play on the ride symbol, how am I gonna accompany that with the hi-hat and the bass drum, and you get tighter and you get more simpler, and you just relax the body, and that way you can play fast.

Playin' fast, but you can play fast if you learn how to play slow.

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What's going on everybody? Peter Martin here for 2 Minute Jazz. Wanna talk to you this week about two-handed rhythmic comping ideas. Now, it's so effective to comp with both hands, where we're linked up rhythmically.

But what about if we can combine a little bit of two handed stuff? So the idea with this, and what I want you to think about for inspiration, is somebody playing the hand drums, right?

So it's a little bit different sound, and we take that to the two hands. And we can go back and forth to being linked up. That's where it gets really fun.

But the syncopation that we can create between the hands is really exciting.

Okay, little idea for you. So just think about those hand drums. Alright, happy practicing.

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(piano music) - What's going on everybody? Peter Martin here for Two Minute Jazz. Got a quick tip for you today on bebop passing tones. So many different ways to get into an authentic and really satisfying bebop sound, but one of them that I love that really kinda comes from a harmonic concept that can inform your melodic bebop playing is passing tones, and I'm gonna just talk about two today.

E flat major.

(piano music)

You know, if we improvise over E flat major.

(piano music)

And we just stick to the E flat major scale,

(piano music)

it's fine, but it gets interesting when we put in those passing tones. So if we look at the minor third,

(piano music)

that's the first one.

(piano music)

And you know, there's three basic ways of thinking about this. Start your line on the passing tone.

(piano music)

And normally we're looking at resolving that minor third up to the third or down to the ninth or the second. So you can start your line there or you can go to it immediately at the beginning of your line.

(piano music)

From the third, or you can do it from the second, I don't like that one as much.

(piano music)

Or the third way is to play it somewhere in the middle of your line.

(piano music)

And when you're running up a scale, this is a great time to do it, because I mean, it works aight, but it's kinda

(piano music)

if I just play the major scale, but if I do

(piano music)

and put that minor third resolving up to the major third in the middle of it, and then I mean, you know you can get (piano music) some rhythmic offsets, some syncopation, that's where it gets really nice.

So the other one I like a lot is a minor sixth. Same thing, you can start your line there,

(piano music)

you can go right to it.

(piano music)

Or you can catch it in the scale.

(piano music)

Okay?

So these are just two over the major scale, but they're fun to practice by isolating them. Each scale has its own, we'll get into those on other episodes, but for now, happy practicing.

(soft music)

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(piano music)

- Hey, this is Geoffrey Keezer for Two Minute Jazz. I'm gonna talk to you about alternating between triplets and sixteenth notes. Now this is something you can do in your solos to really give some rhythmic spice, so you're not just playing eighth notes all the time. An easy way to practice, you know, get a little metronome like this, start slow, you can just do scales.

(piano music)

Right? Or you can do any combination of that.

(piano music)

But the main thing is just lock it in with that metronome, so when you're playing with a real drummer, you're locked in with the drummer's groove. You know, and then you can speed it up. Always start slow, and then go faster.

(piano music)

So in the context of jazz.

(piano music)

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Want more piano lessons with Geoffrey Keezer? Check out his brand new course, Advanced Jazz Piano Concepts, at https://www.openstudionetwork.com/ajp-overview. You can also purchase his first course, Keez to Jazz Piano, at https://www.openstudionetwork.com/project/kjp-overview/

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(rhythmic drums beating)

(hi-hat clinking)

(brushes tapping)

(brushes sweeping)

- The brushes are my favorite thing to play. It's one of the most sensitive ways to play as a drummer and it's one of the coolest ways to really create amazing textures. When you play the brushes, there's a couple different rules that you have to apply by, but ultimately you can still make great music. The first rule is, left hand. Left hand is your sweeping hand, like a broom. You sweep, one, two, three, four. One, two, a-uh, uh, uh.

(brush sweeping and tapping)

This is with an accent. This is without an accent.

(brush sweeping)

We'll go back to the accent.

(brush sweeping and tapping)

Then you can take that right hand with the same spang-a-lang pattern you played in the right hand with the ride cymbal, you add that to the center of the drum, like this.

(drum beating)

(brush tapping)

(brush sweeping)

Then you can add the hi-hat in,

(hi-hat clinking)

(brush tapping)

(brush sweeping)

Then a little bit of bass drum.

(Bass drum booming)

Then sometimes you can add some fill.

(rhythmic drums beating)

(brushes sweeping and tapping)

The cool thing about the brushes is that they're really used with great singers. You can use them in certain arrangements with big band. You can use them even in certain arrangements with horn players or you can just use them to play softer. For younger drummers and drummers that are playing around locally, you can use them in different venues, whether it's a restaurant gig, or club gig or whatever, but it's an art form that you've gotta really check out. There's some great drummers to check out, Vernel Fournier, Papa Jo Jones, Kenny Clarke, Elvin Jones and so many others. But I really love the brushes because it's a way to find your own, creative sound. And I have a lot of fun playing the brushes, but you've gotta really make sure you check out the brushes and make sure that you know how to play the brushes by themselves and with the hi-hat. So like this,

(drum beating)

(brushes sweeping and tapping)

(hi-hat clinking)

and also like this

(drum beating)

(brushes sweeping and tapping)

(drum booming)

So again the brushes are a great thing to have fun with and it's a great way and a true part of the jazz tradition of being a jazz drummer. I love the brushes.

(fast, rhythmic, percussion music playing)

(percussion playing)

(melodic piano playing)

========================================================

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(upbeat piano music) - What's going on everybody? Peter Martin here for Two Minute Jazz. Just got a quick tip for you today, about accumulating vocabulary ideas and knowledge, for your compositions. Not just for the licks that you wanna play, and the substitutions and stuff, but as you're learning tunes really paying attention, to some compositional features there, that you can apply to your own tunes, when the right time comes. So, I've been diving back in deep, into the late great Roy Hargrove's music, and he has this great tune "Mental Phrases," that I've been playing for years, that Roy actually taught me years ago. Such an honor and privilege to have that in my mind still. But he does this great thing.

(lively piano music)

Right at the beginning of the tune, it's real simple kind of modern bebop.

(bebop piano music)

Two, five, one, to A-flat, and then another bar goes by, and then he does to G-flat major. So, we've got a major seven cord, three, four, but in order to get there he goes, one, two, three, four. He goes to D-minor seven for two beats. G-seven a two, five, one that kind of slides in from a half step above. So, what it is kinda make of a note of that, and then what it sounds like, and then there might be an opportunity you have at a tune. Let's say you're going, you know, you're writing a tune. You're going from A-flat major.

(calm piano music)

Two, five, one, to D-flat major. Why not use this technique that Roy does. A-minor seven. D-seven to D-flat major. Okay, just kind of a different sound, so once you kind of learn the tune, and you learn the form of something new, really pay attention to what's going on. Really get it in your ears. Get it inside of you here, so you can take that little harmonic technique, that harmonic little piece of vocabulary and apply it, into your own compositions. All right?

(jazz piano music)

(upbeat band music)

=====================================================

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(jazz piano music)

- Hey, this Geoffrey Keezer for 2 Minute Jazz. I'm gonna talk about playing bass lines with your left hand really briefly. I feel like when I listen to music, my hands, my right hand might be listening to the right hand solos of Herbie or Bud Powell or Chick or Wynton Kelly or McKoy, but my left hand, at the same time, is listening to the bass line. 

My left hand is checking out Ray Brown and Paul Chambers and Bootsy Collins and Jaco Pastorius and guys like that. When I sit down to play solo piano, my left hand is actually thinking like a bass player. 

This kind of bass line I'm playing on The Nearness of You is kind of a hybrid of something Ray might play and a Jaco-ish kind of thing.

(jazz piano bass line)

So when I got to the diminished cord

(piano melody with right hand)

I did a thing that Ray Brown did

(funky bass line)

That lick based on the diminished scale, but these are all things that creative bass players play. So, in addition, when you're transcribing don't just transcribe the right hand piano solos but actually transcribe what bass players are doing, what the horn players are doing, what the singer's doing, what the drummers are doing. All these kind of ensemble ideas you can work into your solo piano playing and it's gonna give it an extra dimension and more depth. It's gonna build up your left hand and make it stronger at the same time.

(jazz music featuring piano)

=====================================================

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========================================================

(fast cymbals jazz beat) Hi, I'm Ulysses Owens, Jr. with Two-Minute Jazz. Spang-a-lang. That is the pattern that swing, jazz rhythm was born out of. Spang-a-lang, spang-a-lang, spang-a-lang.

(plays drums to the rhythm)

If you break down the quarter note, one, two, three, four.

(plays rim of snare)

Two, three, four.

(plays rim of snare)

High hat on two and four.

(plays rim of snare)

(adds high hat)

There's a rhythm called the triplet.

(plays a triplet on snare drum)

Out of the triplet comes the spang-a-lang pattern.

(plays spang-a-lang pattern)

You transfer that to the ride cymbal, and a great drummer by the name of Kenny Clarke is the one that invented that pattern, spang-a-lang pattern. Sounds like this.

(plays spang-a-lang pattern)

The cool thing about the spang-a-lang pattern, when it is played appropriately and in the right way, it can move the band and empower the band to swing harder than anything possible. When you're not playing it right, it may sound a little bit like this.

(plays quarter notes on cymbal)

Just playing quarter notes, or, (plays 8th notes on cymbal) just 8th notes.

(plays jazz rhythm with heavy, fast cymbal)

Playing too many notes. It's only when you get that pattern, spang-a-lang, over and over again, you create a groove and then have that repetition, that really makes it something that people can hold on to. 

Like this.

(plays spang-a-lang rhythm)

My favorite is playing some up-tempo spang-a-lang.

(plays fast spang-a-lang rhythm)

Spang-a-lang is where's it at, and that's how you can really maximize your sound as a drummer. Spang-a-lang.

(jazz piano and drum music)

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(soulful piano music) - What's going on everybody? Peter Martin here for 2 Minute Jazz. Hope you're doing great. Just wanna talk a little bit more about getting that gospel sound, that gospel feel, that gospel sensibility into your jazz and groove playing. I'm gonna give you just two triads. I'm gonna give you - they're already out there! We're looking at G-flat major.

(soulful piano music)

Little simple progression going down to B-flat minor. So a lotta ways to get there, but if you just take a D-flat major triad an an E-flat minor triad. And basically, you can do it with either hand, you should learn it in both hands. But if we just move up to the next inversion, so if we start, and this is over G-flat, okay? So we're in G-flat major.

(soulful piano music)

We're in G-flat major so we'll take a D-flat major triad first. And then we go E-flat minor triad, D-flat major first inversion, E-flat minor second inversion, I mean first inversion. D-flat major second inversion, E-flat minor, et cetera. You get it. And I mean, there's always opportunities to do some grace notes, a little bit of blues playing. But there's a lot of melodic applications for these same triads.

(bluesier soul piano music)

Okay, but just those two triads can take you far to get that sound. 

 Happy practicing!

(funky jazz music)

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(piano music) - This is Geoffrey Keezer for Two Minute Jazz. I'm going to talk to you a little bit about dynamics. Now, in addition to having a strong groove and great information, you know, creative, improvisational ideas, if you bring some dynamics into your playing, it's going to give your music that much more drama and excitement and really take it to the next level. I'll do things in my playing where, I'm playing nice and strong and loud and all of a sudden, you just drop it down to a whisper. These were techniques that, like, the Count Basie Band would use to great effect, or Ellington. Oscar Peterson Trio, you hear them doing that too, where they're just cranking along and they're like, ping ding, ding, just stop. And that, not only makes for good music, but it makes for good entertainment. It makes it fun to listen to, from an audience perspective. Because it's something unexpected. See where you can work in dynamics and drama and all those kinds of things, when you're playing.

=====================================================

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What's goin' on everybody? Peter Martin here for 2 Minute Jazz. I want to talk to you about what I like to call Four on the Floor for the piano. (rhythmic piano playing)

So playing Duke Ellington's "Do Nothing Til You Hear From Me," and I was kind of reminded what a great technique this is to be able to add in and we can kind of transition from walking bass, to that four on the floor where it's like everything's got a root.

And you can think about a lot of different ways to do this but if you can reach that 10th that's a nice one, root, 7th, 10 / root, 7, 3, but you can also go root, 5, 7. 

And normally you can have the root on the bottom but it doesn't always have to be there. And I love getting a little melodic movement going. You know, just a little bit of countermelody. And once you get that solid, you can go right in the pocket with what you're playing in the right hand. But it gets really fun when you kind of loosen up. The more solid you are, the more out of time you can get. But it all starts here.

And you hear the articulation of the phrasing; it's not (long droning eighth notes) and it's not (short staccato eighth notes) It's (bouncing eighth notes)

It's got a little bit of weight. It's almost like, you know like that bass drum feathering. And then you can do a lot of things when you are in time with the right hand to syncopate. So it's very basic in the left hand, but it just keeps you from having to kind of do that, (jumpy left hand) and it segues nicely with the walking. Or a two feel. 

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What's goin' on everybody? Peter Martin here for Two Minute Jazz. I wanna talk to you today about playing in 7. Now, it's fun to play in odd tempos, but it's not fun to get lost playing in odd tempos. So I wanna give you just one little tip here for playing in 7. And that is: play over the bar lines. Okay? So if we're going, 1, 2, 3, 4, 5, 6, 7: And that's the groove. The tendency is to want to play your solo lines like segmented by bar because it's stretching out so long. So it'd be like, 5, 6, 7:

Okay? But that actually makes it harder to play in 7, I've found, as opposed to playing over the barlines where you're thinking more, or hearing it more: 5, 6, 7:

Then you can kind of come back to establishing the [beat] one at different times. So the way to get into this is to start by playing just over one barline, cause it's hard to stretch it over many barlines. You gotta to get to the point where you really can feel that groove even when it's, even when it's not playing. So like right there, you might wanna take, just go over one barline. So I've got like:5, 6, 7:

And then I'm going to the next chord. But instead of playing the one, I'm gonna go: 5, 6, 7:

And then I'll wait until I get the next, that third bar to play on the one, and kind of line myself up. Right?

So then once you kind of get to the point where you can spread it over a number of bars, and you trust yourself, you can really start to play with that time, kind of dancing around it, resolving it when you want to. But it all starts by playing over two bars, then you can learn to play over three bars, and then you can learn how to play over four bars. Alrght? Happy practicing.

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[Music]

Hello, Romero Lubambo here for Two Minute Jazz.

I would like to talk to you about playing the scale in the whole neck of the guitar. A lot of times we think about one position to play a scale. When I asked sometimes some student to play, "Oh can you play a C major scale?" which should be easy, they play

-- [fast, one-octave scale] --

or sometimes with two octaves.

--[fast, two-octave scale] --

But I think scales should be thought as the whole thing on the neck. So the C major scale should start here:

-- [much longer, multi-octave C Major scale] --

You have to have this vision that all the notes of C major scale, where they are. For example, if you are playing a solo, we have to know what's here [music] or here [music] or here [music].

So one thing that I did and I do when I have some time, is to play

notes just randomly off of any scale. I'm talking about C major but it should be done for every scale.

So for example [random C major notes], I know those notes belong to C major scale and you should know because when you're doing a solo, improvisation, we have to know which notes belong to the scale that you want to play.

Not necessarily on top of C major, maybe you play the scale, D minor chord for example. You still need to know --[random D minor notes]-- So practice this as weird as possible in terms of --[weird D minor notes]-- The most weird you can do, the better because your brain is going to get used to those jumps, you know, and you get used to see those notes on the neck of the guitar, it's gonna help you a lot. Do that for every scale. Thank you very much. 

"Boa sorte com a música” - Good luck with the music!

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Hello! Romero Lubambo here for two minute jazz.

I'm gonna talk today about hammer-ons. For me it helps a lot for my scales, for my phrasings, single-note phrasings, to have the hammer-ons. Where you pluck one note and you hit the second note without plucking it with the right hand. So you have two notes for the price of one, basically! 

So for me, this makes me play much faster. Probably double faster. 

So, things like that. There is a very good exercise that you guys can practice for hammer-ons, which is: 

So, 1 - 3,  2 - 4... 1 - 3,  2 - 4....

So in this case, I'm doing 1 - 3,  2 - 4, but you can do 1 - 2, 3 - 4. 

And 1 - 4, 2 - 3. 

So any configuration that you can think of, practice that because this can make you play faster phrases and try to be clean on those hammer-ons. 

Thank you very much for watching. "Boa sorte com a música” - Good luck with the music!

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Quick tip! Trill: While you got the symbol at your foot. It's got to be good. 

Brush in between thumb and first finger. Motion like this:

And you just work on spinning it out. Here we go:

Just sit, dont worry about it. You do that every day. You can start slow. And just get your hand used to the motion. Close your eyes. And you too can get to the trill.

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Talking today about pull-offs. Very important thing for my way of playing phrases, is the pull-offs. Which is the situation that you play one note, plucking with the right hand and you just pull the note with the left hand to play the second note that's behind here.

So, this helps a lot in terms of:

So you can pull the pull-offs from the second to the first finger,

third to the first finger,

or the fourth to the first finger, 

or the fourth to the second finger.

Those are more difficult when you use those two fingers here.

A very good exercise to do would be: [music]

So, 3 - 1... [more music]

Actually, anything that you can think of in terms of practicing pulling the first note to play the second one, just with the left hand is very useful. 

Thank you very much! "Boa sorte com a música” - Good luck with the music!

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Some guys like to put the brush between your legs while you're playing.

You grab one out...

Vice versa and we're playing brushes, right?

Now, you got to be able to put the brush down.

Grab the sticks.

So it's not about...

Like you don't want that, you want a continual sound to be happening. So,

Or, you put the sticks here. It's called the reach for it.

Either way, I guess the really important thing is that you're able to switch either from the stick to the brush or brush to stick without stopping the motion of the music. So practice that every day just going back and forth, back and forth.

That's my quick tip for the day. Hutch.

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What's up everybody? Sean Jones two-minute jazz here. This is not necessarily related to jazz, but related to pedagogy. I'm gonna talk about tonguing a little bit. Specifically multiple tonguing.

I like to do different multiple tonguing in my practicing, also on my solo playing. Alright, double tonguing, triple tonguing. Now the way that I practice that is I like to isolate the syllables of the

double tongue, okay, tew and kew, alright? Tewkoo, tewkoo, tewkoo, tewkoo tew.

So I'll just isolate the tew, and then I'll play the back end of that which is the koo. Notice I'm saying koo, not kuh. Okay, kuh is a little too far in the back for me. I like to say koo because it's more forward. And I try to make that sound exactly like the single tone.

Okay so, that was just the koo. Now I like to do it backwards. kootew, kootew, koo.

Alright, trying to make that sound like the tew and the koo syllable.

Now we come along and we do the tewkoo, the regular way that you would do double tounging.

Single, or the tew.

The koo.

Backwards.

and forward. Tewkoo.

Trying to get them to all sound the same and that's a great workout for your tongue. Get the muscle working. Works out different parts 

of the tongue and then it also helps with your jazz articulations. So I hope that helps. Thanks.

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Romero Lubambo for one more Two-Minute Jazz.

One thing that I use a lot when I'm playing either with an ensemble, a lot of musicians or with a duo, with a piano player for

example or another guitar, first of all, we have to always listen. All the time what the other musicians are playing and adapt. 

But this thing of the upbeat playing.

It's something that's not so easy to do. It may sound simple.

(upbeat guitar music) 

But it has to be really precise. The bass stays always in quarter notes.

Change the chord.

If the other musicians are playing for example: 

(slower upbeat guitar music)

That will be the perfect compliment for that type of playing.

(energetic guitar music)

You can always use that anytime you play a Samba or with any group or type of group, I think and add a lot in terms of the swing, in terms of the feeling.

But the bass is always is a quarter note, not more than that and just practice this.

(energetic guitar plucking)

It can be difficult in the beginning but after you practice that and you're comfortable doing that it's going to be very useful for you in the future.

Thank you very much. “Boa sorte com a música” - Good luck with the music!

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So, what you're hearing is basically the first one. You're hearing like a F pentatonic scale but you can always make it a little bit bluesier it just takes the third the A and drop it down to A flat.

Then go to the third, the fifth to the sixth or 13th back to the root. But the one I like to do, we take the root take the third drop it half step the fourth, the eleventh. now here's the sharp eleven. Five, flat seven back to the root. So you have a choice to use between that one, what a regular blues scale and after that you know that's when you start using different rhythms.

So here's one course of blues using the first example I gave you.

One, two, a one, two, three.

And here's one more course using: one, two, a one, two, three.

And here's one more course just combining the two so you can really get that true blues effect. One two, one two three.

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(rhythmic drumming) 

It's Ulysses Owens Jr. With "Two Minute Jazz." 

Having fun with rudiments: I'm taking a really cool rudiment by the name of "Five Stroke Roll." 

One two three four five.

(rhythmic drumming) 

And having fun with it, taking it around the kit. A lot of times as young drummers, even older drummers, experienced drummers, 

whatever part of the drummer thing you fall into, we all get bored and we wonder, man what do I do with these rudiments? 

Especially the 28 Essential Rudiments. So one of those 28 Essential Rudiments being the "Five Stroke." Like how do I move that around the kit? Once I've learned it what do I do with it? 

So I like to explore and experiment and I'm gonna do that right now with the rudiment.

So I will play it for you again.

(rhythmic drumming) 

A little faster.

(frantic drumming)

You can try different things like: 

(rhythmic drumming) 

Five stroke roll. Take it around the kit, play it with the cymbals. 

Play it in any way you want. Just keep moving forward with it. Create a continual rhythm around it. Create continual phrases and

fills and setups around it, but just keep pushing the boundaries and using that rudiment, and never tiring of it, and figuring out how can you explore and have fun with it. 

So

(rhythmic drumming) 

Have fun with the rudiments.

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You don’t want to put together a walking bass line where you kind of like 

— [whack, non-linear bass lines] —

I’ve actually heard some bass players do that. I really have. It’s not good.

Keep you lines so they go just like this – up and down hill, up and down hill.

If you want to break it up a little bit, make sure there’s a pattern inside of what you’re doing so it makes some sense.

-- [non-whack, nice bass line} --

I’ll break it up a little bit.

-- [more nice walking lines] --

Even when I’m making the jump, I keep it linear from there.

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========================================================

Hello, Romero Lubambo here for "Two Minutes Jazz.

I'm talking about today about the bass for Bossanova, samba rhythms in the guitar. 

The bass should be simple and should be in a quarter-note type of thing like I just did. 

(Bossa Nova guitar music)

I see a lot of people trying to do more and sort of mix the Latin rhythms with the Brazilian rhythms and I will try to do it. It's hard for me even to play the way I'm not supposed to. 

(weird, quick mix of styles)

I don't know how to do it. I think it is very forced those two bass. Sometimes, of course, you can do:

But on the quarter note. Not: [sporadic eighteenth note bass samba]

I don't know how to do this but I'm trying to explain to you the simpler the better. 

Quarter notes. 

So there the bass just holds the whole thing together, as a big glue. And you can just pay your beautiful chords and rhythms with the rest of your fingers, but the bass is always there in quarter notes most of the time. And this is going to give you the swing that you want for the samba or bossa nova rhythms for the guitar. Thank you very much!

=========================================================

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What's up everybody? Shawn Jones. I'm doing two-minute jazz and a lot of people have asked me about the lick that I play on "Cherokee" quite often. It's a lick that I kind of stole from Charlie

Parker a little bit. He does this thing you know, it's kind of like this uh harmonic thing that he does with arpeggios and this is how it

goes.

(plays lick)

You know, kind of like that, all right? Just to analyze with a little bit um, I take the first chord there's a D flat minor 9. Start on the 9. Okay and then it goes to the major, you know, of the B major next chord. Then it goes to... so you kind of plan on those upper extensions you know and you're just working that through the bridge of Cherokee. All right. It's a fun thing to play, okay.

So you just kind of working that 9, the 9th of the chord through that. Alright just a quick tip you know, if you want to check it out. All right. Thanks.

======================================================

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====================================================  

Romero Lubambo for 2 Minute Jazz. 

I'm talking today about - a little bit more

about what you can do with your right hand in terms of rhythm to add a little bit more spice to your Bossa Nova playing, for example. 

So instead of just doing [Mellow, simple guitar playing] 

Instead of just doing that, you can add some sixteenth notes, some muted notes and that's gonna work like a percussive instrument playing with you. For example, like this. 

I'm not playing the sixteenth continuously, otherwise, it would be like this. 

But the effect of muting the notes, adds some

percussive elements to your playing. 

But I'm always thinking about the sixteenth note. 

Of course, you have to know, the basic pattern for the samba or the Bossanova, in this case. So you reinforce those notes and the other ones, muted. 

Thank you so much for watching, I hope this helps a little bit. Develop on your own way, your own timing. This concept I think is very useful -for me, it was always very useful and I think it can help you a lot to be very close to the Brazilian percussion ensemble rhythms.

Thank you very much. "Boa sorte com a música” - Good luck with the music! 

======================================================

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What's going on everybody? Peter Martin here for Two-Minute Jazz. 

I want to talk to you today about rhythmic syncopation for your comping. I want you thinking very basic. Let's build up. Let's get our swing going. Let's really think about some ways that we can enhance the swing with some basic syncopation.

So we've got: 

So pretend like we're comping for a singer or horn player. No bass player, so we're playing two feel on the left hand and this is basic voicings. So what I'm doing here is nothing revolutionary but if you really get your time going and remember the syncopation is all about resolution. Okay so, so a lot of times we're thinking syncopation is just playing on the upbeat but it's got to resolve rhythmically at some point so it can't just be three, four (offbeat piano playing) 

It's gotta hit the down at some point so we set up that pattern of (good syncopated rhythmic piano playing) 

Some down, some up and there's not really a formula for it but the great thing is we've got a bunch of great examples. I mean, you check out Oscar Peterson and he's just like, everything he does when he's comping is just a beautiful like, pattern of syncopation and resolution so it's more about kind of getting the sound in your ears and then just sitting and building up from something very basic and I would recommend that you really get your left hand going first. And one thing you can do is like talk to

someone to see if you can do this and just keep these half notes going because you want them to be independent from the right-hand comping syncopation right so:

I'm never playing the left hand on the upbeat but the right hand is total independence. And what you can do is like really kind

of think it through at the beginning in terms of like I'm gonna play on the upbeat, I'm gonna play on the downbeat. I'm gonna do all eighth note kind of comping and start to let your ears acclimate to what that sounds like and just use comping, this is not the time to try to get fancy with your voicings and all that just basic stuff shell plus one. 

Or just shell. Third and seventh. Cause we're going for that rhythmic feel because if you get the feel, you don't

have to get that fancy with your voicings. 

So there you go like:

That's a basic - I mean there are guys in New Orleans playing that probably in 1917 right? But if you play it with the right feel - Now, I may be cheating a little bit cause I'm kind of playing it 

like a minor 11. It's a little bit of a modern sound, but even if I just did : 

Phrasing, syncopation, feel. You can go basic then with your voicings and have a lot of fun with it. Okay? Happy Practicing.

===================================================

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=================================================================================

What's going on everybody? Peter Martin here for Two-Minute Jazz. I want to talk to you today about fourth voicings. Maybe in a situation that you haven't used them a lot, which is a major seventh chord.

You know over the minor, Dorian kind of sound like C minor, these voicings based on fourths, moving them around diatonically can work really well with some chromatic stuff and all that but over the major, so we take E flat major, I love to move these around diatonically in terms of like spacing on a ballad or even on a medium tempo whatever, you know, a lot of different applications. 

But basically, we're just taking four notes starting on the third

and then we're gonna go up continuing in fourths diatonically over the E flat major and then a lot of times I'll add a fifth note of right around this time so we got three in the right hand to the left. Just cause I like the way it sounds. And then I'll take the fifth note away somewhere around here, when it starts to get a little muddy sounding. Okay? 

So in terms of ballad playing, you got that. But if this is like [faster tempo] 

In the context of like 1-3 -6-2-5:

Because you know, a lot of times we'll have this voicing. Would be all forths. But with the third, which is nice too. And that certainly can be worked in but with the straight fourth, I think it works

nicely. So you know you can kind of learn these in different keys: C major. You know, taking them in all the different keys you have, you have some nice stuff to play 

One thing that you can add in with these to give them a little bit of a, different kind of sound would be some real basic chromatics. So you got:

So we're just going half step below, half step above. Trying to think, there's a.. oh the Bill Evans intro on Love for Sale. That's great fourth voicings over that E-flat. Okay? So check out some fourths. Not just over the Dorian minor sound but over some major sevenths. Happy

practicing! 

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So, on the ride cymbal, it's right in the meaty part of the cymbal like this (cymbal).

With the snare drum is in the center of the drum like this (drum beat). On the tile like this (tap) on the floor top like this (boom).

When you play consistently in the sweet spot that is where the best sound of the drums and the cymbal come out when you're playing in other parts of the drum set is very inconsistent and it's not full. So you've got to always make sure you play in the sweet spot like this. 

This is not the sweet spot. (shallow percussive sounds) 

So when you're playing on the edges of the drums you're not getting the best sound. It's only when you're playing in the center of the drum, that you're getting the best sound. Same thing with the cymbal.

That's the meaty part.  

Same thing. 

Same thing here with the high hat.  

So, you got to make sure you know where the sweet spot is and where it's not so that you can always consistently play in the sweet spot. 

===================================================

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===================================================

What's going on, everybody? Peter Martin here, for Two Minute Jazz Piano. I wanna talk to you today about playing outside.

So, (jazz piano) normally when we talk about playing outside, we just mean shifting harmonically from what the actual chord we're

on for a little bit of time when we're not supposed to be changing the chord. But we use that other harmonic area to build our melodic ideas off of.

If we look at D Minor, (jazz piano) we're just, you know, we're

kinda sitting there, right? (jazz piano)

It's kinda obvious at a certain point, I'm leaving D Minor. Now, you know, Dorian, it's all white keys so you can tell when I'm

doing it visually, too, 'cause I'm going up to non-white keys, but the sorta obvious place that we go is a half step up, which works nice (jazz piano) so we can kinda shift up there at any time.

But I want you to think about some other areas to go outside, as well. (jazz piano) And these are, they can really be almost anywhere. We're thinking more in terms of triadic pattern. So D Minor but I'm going up to (jazz piano). E, E Triad.

And then E flat, major triad.

And even D triad, even though we're going to D Minor.

Then I'm going to B triad.

And you hear I'm doing, as opposed to a straight triad, (jazz piano) 'cause it gets a little bit basic, I'm adding in that fourth kind

of as a melodic passing note.

(jazz piano) right? (jazz piano)

You know, you do that if you like the sound. (jazz piano)

And then, you know, in terms of your comping, you probably notice sometimes I'm really sticking straight with what I'm doing melodically with my comping. (jazz piano)

But these voicings are actually, those are a fourth, but, you can also play things that move in the same direction with the pattern that you're doing when you're playing outside. 

(jazz piano) that are not actually the chords for what you're playing.

What I did there was (jazz piano), that kinda matches but

then I went (jazz piano).

I'm still doing the major, (jazz piano) moving chromatically but I'm

taking that fourth voicing and moving it chromatically, as well.

(jazz piano)

And the whole thing, remember playing outside, you're shifting, you're going somewhere else and then you're coming back. You can't play on the chord and then leave the chord and stay away because then you're outside forever.

You gotta bring it back home at some point. Happy practicing.

===================================================

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==================================================================

F# Major 7th.

B7.

F# minor with the 9.

A minor.

D7.

G minor with the 9 here because that's the melody.

B flat minor 7th. 

It's E flat 7th. 

That's nice because this you can use in a lot of different songs. This type of 2-5, you know. This is A minor.

A minor 7th. I like this chord a lot, this is a D, A, D#, and G#. 

This is basically a D chord, D with the flat 9 and the sharp 11 here. 

You can do like this also. See? The D7 flat 9, sharp 11.

Then the same, same thing with the G minor. 

I, a lot of times do: 

This is a very beautiful type of 2-5-2-5-1. You know?

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What's going on everybody? Peter Martin here for Two-Minute Jazz.

We're gonna talk about fully diminished chords today. I want to give you a little bit of ideas for your voicings. So we're gonna take

"Embraceable You." E flat major. Then the second chord: G flat fully diminished. So we've got the root, minor third, minor fifth, diminished seventh. but I've always thought that was kind of a basic sound. 

So, the easiest alteration you can make is: shift that diminished seventh up to a major seventh. Okay so we know we still got that diminished triad but with the major seventh, which kind of leads nicely to where we're going. And so this to me it always kind of implied that D7#9 kind of a sound. Right? But the root's going up to G flat. And in terms of like implementing this in some two-handed voicing, we've got E flat major and what about this? What do we have here? We've got the G flat - the root, the diminished fifth, we've still got the diminished seventh and up here we have the major seventh. This is the minor third and like this, I really think about, this is that D mino triad and if we put the D down - the root,

Then we go half hold diminished. Thinking about it off of the D. Okay? You can kind of move this around chromatically. Have some fun with it there. And it leads real nice to where we're going in F minor. Okay? So we don't need to be scared of the fully

diminished. I know sometimes it feels like we're locked in and it's so basic. But you know there's some nice symmetry here too and I always love these voicings where you've got the tritone separating the hands. I don't know why. It's always been like a cool thing to me there.

Works off of either root. And when you take, you know, when you have this voicing in your arsenal, a nice thing too is you can go basic. Root position first and then kind of jump up here and combine it. It'll give it a little bit of a modern sound. Alright?

So don't be afraid of the diminished, and have fun with the diminished.

Happy Practicing.

====================================================

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================================================================

(fast bass jazz music) 

(scats) 

Now, I'm not sure that's the kind of fast a lot of bass players ask me about. When they ask me about playing fast, they ask me about playing lines. 

(fast bass jazz music) 

Well, I mean, that's cool. 

But, you know, it's the idea that's more important that's, than being able to actually play fast. If you're actually hearing

an idea that is fast, that's more important, that's just simply being able to do this. 

A lot of bass players can do that, by the way. Just take your fingers and go like that, just: 

(fast bass jazz music) 

That's fast. 

But when you actually have some ideas, when you can go-- 

(fast bass jazz music) 

Comes from transcribing horn lines. Actually hearing horn

lines that interest you. Horn lines that say, "I gotta go and practice that." 

The technique is there, but you gotta get the idea first. So don't worry about the speed, worry about the idea. 

=======================================================

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=================================================================

Intonation! Here's one tool that will really help you develop your intonation. These guys: Your ears! Your ears tell you when you're in tune and when you're out of tune.

Actually, there's another tool that will help you discover that. Just using your body. When you're out of tune on your

instrument, you can actually feel a vibration that's a little fast. It's a, it's an uncomfortable vibration.

Listen to this. You don't feel much of a vibration there. It's pretty in tune right? Now watch this. Feel that wave? It's like *gibberish* like the air kind of jacks up, you know? Like your bass almost starts shaking. It almost starts wobbling. But when it's in tune, physically your bass goes "*sigh* thank you."

So make sure you pay attention and make the adjustments and use this. It can always uncover all of the weaknesses. The bow always uncovers the weaknesses.

Don't use any vibrato either.

====================================================

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=====================================================

Something that I thought about, and that you guys should be able to do, when playing Brazilian rhythms, and a way that you can go about practicing this is really simple, you know I always talk about the bass drum, right? So check this out. Right?

That's the bass drum, right? Now, you take your hands and you simply do this. Now right? It's very simple: practice that every day, it gives you the feel, and then once you speed it up it's like this. And you slow it down.

That's my quick tip of the day, I know I'm gonna get some responses from that, but that's Hutch's take on how to get into the feel of playing some Samba - Peace.

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===================================================

What's up everybody, Sean Jones here at the Open Studio Network, and I'm here in this wonderful space as you can hear there's a lot of reverb here. And I just want to talk to you a little bit about projection versus resonance. It depends on the hall what you want to think about when you're creating a tone or tone production on your instrument.

You want to think about the overall vibration in the room when you're playing okay, playing any brass instrument okay, versus projecting. Your targeting trying to get your sound out there. Okay? So going back to what I was saying with the halls. If I'm outside or in a in a jazz club or something like that, not necessarily thinking about resonance as much, I'm thinking about projection kind of shooting the sound out. But if I'm in a sort of a space like

this where there's a nice reverb, I'm thinking about resonance.

Now the way that I get to resonance is by having absolute vibration on the mouthpiece first and that then is projected into the instrument. So when I practice on my mouthpiece buzz.... as you can hear there's no air there at all. Okay? Some people you might play in the mouthpiece and you'll get this kind of sound. You can hear air escaping there okay so it's not completely resonating if you hear that air. But if you hear this....and the sound is completely resonating in the mouthpiece, and then when I put the mouthpiece into the horn, it sounds like this. Okay? So you can you can hear that complete resonance and sound in the room that I'm in.

Now going back to projection versus resonance, if I'm trying to project outward then I'm kind of thinking of shooting the air out

through the bell past and into the back wall of wherever I am. So it's kind of a percussive aspect to it as well, articulating hard and projecting there. But if I'm thinking about resonating I'm

thinking about trying to make every single thing in the room that I made vibrate around me.

I don't know if you could feel that energy through the through the screen, but it's definitely there, okay? So it's something

that's important to think about as a brass player. Resonating in a certain room so that you don't have to work as hard project, alright? Just something to think about.

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What's going on everybody? Peter Martin here for 2 Minute Jazz Piano. I want to show you one concept for adding in some gospel flavor into your jazz playing today.

So many great ways that we can do this, but we can just add one at a time, give a little hint of the gospel vibe, I think it works well.

So we're in the key of G and if we're playing jazz, say like a ballad.

(pleasant piano music)

And we're going from G Major, the I chord up to the IV chord we might move with those kind of voicings, so like G Major, A Minor, B flat Diminished, B Minor, and then to the C Major. I'm just gonna put one kind of gospel-tinged change in there. Okay, did you hear that? We can go G Major, A Minor7, and then instead of B Minor, I went to B7#9 Flat 13. Okay?

So of course when I add the whole gospel feel, you really hear that but even in jazz, like if it was a ballad. Just a kinda cool way to

put a little bit of gospel in your jazz playing, alright? So I hope you have fun with that. Peace, happy practicing.

====================================================

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=======================================================================

What's going on, everybody? Peter Martin here for Two Minute Jazz Piano. I want to show you three minor chord voicings that you may not be familiar with that I really like, use a lot, hopefully

you'll enjoy them, too.

So minor, basic and potentially boring, right? (pleasant piano music) So what can we do?

Here's the first one. This is a minor 11, just going through chromatically and I really like this voicing. We've got the root, the

fifth, the ninth, the third, the seventh and the 11th. It's a minor 11 chord and there's things that you can add, you can double the ninth. The 11th's on top, the root's on bottom. A lot of different ways to do it, but I love it. I just love that openness of that.

I actually wrote a tune a few years ago in D minor kind of based upon that voicing and that melodic pattern called La Pregunta.

But anyway, it's just great symmetry, the ninths with the fifths

in there stacked up. So that's a minor 11 and then the next one is minor but it's a half diminished and this is something I heard

Herbie Hancock do a lot, especially in that, you know, early 60s period when he was playing with the Miles Davis Quintet.

It's a half diminished so we've got the flatted fifth, the minor third groove, dominant seventh but we've got the ninth which is a little bit unusual, so it gives you that A flat minor major seven kind of stacked on top.

Kind of great, great sound there. So half diminished nine

is what I call that one and then the last one we got is another thing inspired by Herbie Hancock which is. And this a diminished,

an F fully diminished because we've got the minor third, the minor fifth, we've got the major seventh and the ninth.

That's the kind of Herbie-ism that kinda gives it a different feel. Lot of tension in there, right? And so we got the two minor thirds separated by the perfect fourth and it resolves nice into a major.

And you got a lot of cool stuff happening in there, that E major triad. Alright, three chords for ya, comin' atcha.

Peace, happy practicing!

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What's going on everybody? Peter Martin here for Two Minute Jazz Piano.

I want to talk to you about bossanova jazz piano styles today and a little secret to tighten up your playing and get it a little bit more authentic in that authentic Brazilian bossanova style.

(pleasant piano music)

So that's the foundation of the groove. Now you'll notice that I'm not playing: all that with the bassline. You may have learned it that way, you may have seen it written in music that way, you may have played it in your stage band when you were in middle and high school, but that's not authentic and it really doesn't lend itself well to the actual forward momentum and movement of that bossanova groove, which is really more based around the guitar and the piano in that tenor range providing the movement.

Two, three, four. So even without that bassline, I'm just imagining the bass player, that great Brazilian bass player playing that bassline, but all that rhythm is there, I'm just imagining the drums.

So when you put in the bassline and you're maybe playing, you know, like: All you need in the bassline is: Just play half notes, relax. Maybe even some whole notes. You don't need that,

all that movement's here in the piano or the guitar.

Half notes. And the syncopation is not in the bass, it's in the right hand. Okay, so just add that one little element to your bossanova playing which is really about taking out an element and I think you'll start to slide into that great Brazilian bossanova groove a little bit easier, alright? Happy practicing.

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=============================================

See Part 1 for a breakdown of the chords and voicings:

https://www.youtube.com/watch?v=mpnjOfbZMnE

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=====================================================

What's going on everybody? Peter Martin here for 2 Minute Jazz Piano. I want to go through the tune, Autumn Leaves, give you a brief tutorial on playing the head with some real simple and pretty

voicings. 

We're going to think about it in three zones. You've got the melody:

and then you've got the middle zone, and these are going to be triads. Three-note voicings with nice resolutions. Some fourths. Just some good sounding stuff and then you can have the root at the bottom.

Okay, so you got melody, voices which are split up between the two hands at different times and the root, okay? One, two, a one two (pleasant piano playing)

Okay so you saw we had a lot of triads in that middle zone. We had some nice little kind of clusters there, like over the G minor.

So a little bit of a variety. but I really tried to put those voicings in

based on voice leading, good resolutions really fitting nicely to that tenor range. But that's sort of the foundation and you know, when you start to extend beyond that, you'll find those same voicings in the middle, in that middle zone will serve you well for your left-hand voices. But that's for later. All right? So have fun. Autumn Leaves.

Happy practicing.

See Part 2:

https://www.youtube.com/watch?v=DH1Je51_qGE

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Your sound is your signature. Lot of things you can do to get a good sound.

I'll tell you a few things you don't need to do. You don't need to raise you strings way high off the fingerboard. You don't have to pull the strings so far back like you're about to shoot off an arrow. You don't need to do any of that.

Keep your strings at a nice height, maybe .9, one whole centimeter off the fingerboard. Play without an amp, especially when you practice. Don't move your right hand around too much while you play. You dont wanna... See the guys doing the bird when they play? Start flapping their hands, almost like a chicken. They think somehow physically it makes them swing harder. It just makes you tired, that's all. You don't need all that movement, just right in there. And keep your thumb locked. See my right thumb? Whoops! It's not going all in here. Keep it locked.

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Check out Christian's "Fundamentals of Jazz Bass and Beyond" available from Open Studio: https://www.openstudionetwork.com/project/fjb-overview/

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Some sweet and sick substitutions for you to use over 2-5-1’s.

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In this lesson, Peter gives some jazzy tips with one easy scale.

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In this lesson, Peter gives some insight into what the most useful scale in jazz is.

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In this lesson, Peter shares some tips on how to shed on the pentatonic scale.

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In this lesson, Peter gives a special run for you.

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In this lesson, Peter shares some tips on cadenzas.

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In this lesson, Peter shares some tips on combining chromatic scales with other scales.

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In this lesson, Peter shares some tips on chromatic phrasing.

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In this lesson, Peter shares some tips on some two hand melodic movements.

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In this lesson, Peter shares some tips on how to practice the classic tune, Beautiful Friendship.

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Peter Martin’s new premium course “Jazz Piano for Beginners”. Go from aspiring to functioning jazz pianist in 23 entertaining and engaging lessons, with the premier online jazz educator and Open Studio Network. Check it out HERE.

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In this lesson, Peter shares some tips on how to practice to add a New Orleans flavor to your playing.

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Some tips for using root movements in your left hand.

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Ideas for melodic improv practice using a simple major pentatonic scale.

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A practice technique for two handed voicings.

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A right hand octave technique for you to have fun with.

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Some tips to keep the groove going with your left hand when playing solo piano.

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Some ideas for incorporating gospel influences in your jazz piano playing.

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Some ideas for melodic uses of “4th” voicings.

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Simple practice technique to practice chromatic scales within a tune.

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A practice technique to solidify your left hand on ballads.

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A simple technique to add in some melodic chromaticism to your jazz lines.

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In this special extended length 2 Minute Jazz, Peter focuses on what to practice.

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A new way to practice and master diminished scales.
Scale fingering PDF’s and full length lessons available at:
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Full Length Lessons and more available at

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A simple cycle of substitutions for dominant chords.
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Simple left hand voicings to practice in all keys.
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An alternate set of 2-handed voicings for a 3-6-2-5 progression.

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Add just 1 note to your improv lines to improve them.

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Broken 3rd scale practice to facilitate playing fast over tunes like Cherokee.

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Quick tip on practicing broken scales to help improvise on fast tunes like Cherokee.

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Excerpt from full length lesson on Bebop soloing from acclaimed jazz pianist Peter Martin’s Online Lessons:
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An ascending diminished and descending pentatonic practice pattern.

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Strong fingers are crucial to controlling the instrument effectively.

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I answer a viewers question about “funky comping.”

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Some practice techniques for developing velocity in your improvising.

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Practice techniques for dealing with and applying the use of the melodic minor scale.

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Practice techniques for developing a strong, independent left hand bass line. I use the example of DOCTOR JAZZ from my solo piano Set of Five.

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Creative ways to incorporate practicing scales into your daily routine.

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Tips and discussion of voicing melodies with chordal accompaniment – and a Chopin Etude for reference.

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Some tips for instrumentalists playing with pianists. By special request from Brian (long overdue!)

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Today’s episode deals with probably the most important element of jazz piano: Time!

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In today’s video, I’m going over options for your left hand in solo piano settings.

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Today I begin to address the questions and comments – first with Markus’ question about playing longer lines that aren’t restricted by the underlying chord structure

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Today I cover setting up simple motifs in your solos so you can tell your improvisational story.

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Question for you:

What areas of Jazz Piano would you like me to cover next???? Leave in the comments below:

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Jazz pianist Peter Martin breaks it down for you in 2 minutes from Bilbao, Spain

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Today I break down the importance of bass lines in the jazz piano arsenal.

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Today I talk about the importance of the intro as part of the jazz piano arsenal.

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Today I explore learning standards in all keys as you’re learning the tunes.

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I’m trying a new thing today. For those of you that have no interest in the intricacies and minutiae of jazz piano, you can skip this video tutorial. But it is quite brief, so you may want to check it out anyway! Hope your days is beautiful and productive. Peace, PM!

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