What can we learn about jazz from Charlie Brown?

Reader,

Now that it's December, let's talk about playing some Christmas jazz. And what better way to do so than with O' Tannenbaum from Vince Guaraldi's A Charlie Brown Christmas.

During my piano lessons as a kid, I learned this song by playing it right out of the sheet music. But, I always wanted to play Vince's solo, and it always bothered me that the book only had the first part transcribed. So, today I decided to fix that and transcribe the whole solo.

Welcome, new members.

Also, our sale this past weekend was a big hit. And so, we have a bunch of new members in the community. I'm glad you joined us.

Each week on Wednesday I sent out an email like this, with a new transcription and the topic for our Zoom workshop that week. So, make sure you have me saved in your address book so that you don't miss the workshops.

Zoom Workshop - White Christmas in 5 styles

Using the tune White Christmas, we'll explore several different comping patterns to play in different styles. We'll cover a 2-feel swing, a 4-feel swing, a bossa nova and practice hand coordination.

Click the button below to let me know you're coming, and I'll send you the Zoom link and the leadsheet to follow along.

On Zoom at 1pm Eastern, this Friday, Dec 6.

Today's 2-5-1

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

Here are 5 observations I have about this tune as a whole.

1. The rhythmic variety in the solo line is what makes this solo so hip. Look at the contrast between the different rhythmic units. His lines combine 8th notes, triplets and 16th notes fluidly.
2. Similarly, look at the variety of where the lines start rhythmically. In the opening example at 1:09 the first phrase starts on beat 4, the 2nd on beat 2, the 3rd on beat 3.
3. Notice how simple his note selection is. Built around simple chord tones and approaches to the chord tones. The only real exception in this example is that Eb over the D7 chord -- the b9.
4. In both of these examples, and elsewhere throughout the solo, Vince ends his phrase with a blues scale lick. Notably, that blues slide from the Ab (blue note) to the A natural (3rd of the F major chord).
5. Vince ends the tune on an upper structure triad! It's built by stacking a G major triad in his right hand on top of an F major in his left. And for the cherry on top, he plays Jingle Bells using the notes from that G major upper structure!

This week on the YouTube channel

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Are Jazz Standards a Waste of Time?

Josh Walsh Say hi 👋🏻 on YouTube or BlueSky. Or, just reply to this email.

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PS. Due to some changes in my production schedule, I'll be sending these newsletters on Wednesday's going forward.