This solo will finally unlock your improv skills.

Reader,

I approach teaching jazz by focusing relentlessly on the fundamental building blocks. If you've been part of our community for a while, you know how much I encourage learning to play like Red Garland.

I often have my students practice Red's left-hand comping pattern, especially from this recording. But, today we're going to focus on what Red plays in his right-hand.

Join our workshop this Friday

This week we're reviewing our scale running approach by applying the same ideas to a new tune, Georgia on my Mind. This will give us a chance to handle some new situations, as well as to add a new scale to our arsenal.

On Zoom at 1pm Eastern, this Friday, April 4.

Yes, I'm coming

Today's 2-5-1

Each week I share 2 transcribed phrases, 5 ideas observed from 1 featured jazz recording.

In our workshops the last few weeks we've been focused on writing solo lines that outline the chord changes. When we do this, we want the chord tones generally to fall on the beats, especially on 1 & 3.

Typically, students don't struggle too much with putting chord tones on the beat, BUT, they struggle much more with what non-chord tones to play.

The non-chord tones are more intimidating, right? After all, there's a clear definition of those chord tones which makes them safe to pick. But the non-chord tones? There's much less structure.

But think about them this way:

• Chord tones - Resolve tension
• Non-chord tones - Create tension

Try this at your piano

Print off the solo using the PDF link below. Play along with the recording, and then go through this solo measure by measure, comparing the notes of the line to the chord.

• Which notes are chord tones? (1,3,5,7,9)
• Which are non-chord tones?
• For the non-chord tones, look ahead to the next chord tone in the line.
• How does that non-chord tone motivate you towards the chord tone? Look for things like approach notes or enclosures.

Take those observations and apply them to a tune your are playing.

Download: Almost Like Being in Love.pdf​

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To get your started, here my observations from the first line of the solo.

1. The first measure is a traditional jazz arpeggio - 3, 5, 7, and 9. All chord tones.
2. Take a look at the Bb7 in the 2nd bar. That measure has a B natural, an F# and a Db. Each of those are a half-step from the standard chord tones.
   - B natural (probably actually a Cb) is the flat-9 altered dominant
   - The F# and Db are kind of an enclosure around the F natural on the next downbeat.
3. In the 3rd measure, the F and Db enclose Eb, the root of the 1 chord.
4. In measure 4, the B natural is a non-chord tone against the Cm7 chord, and acts as a half-step approach to the root.
5. Unrelated to the solo line, I also want to point out that these changes Red Garland plays are quite different to the traditional chords for this tune. If you are curious, compare them to one of your gig books.

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We're really close to hitting the goal...

3 years ago my YouTube coach had me set a growth goal for the channel.

I set a goal for us to hit 30,000 subscribers on the channel by my birthday in May of this year.

We're so darn close to hitting it, but the date is rapidly approaching. If you enjoy these newsletters, you'll love those videos. The video coming out this weekend is so good. I promise you wont regret it.