If you want to adapt popular music to jazz, the best approach is to think of the harmonic functions (rather than just the chords) and then use techniques of tonal harmony. In the following video we show how to turn a very basic piano version of "We Wish You a Merry Christmas" into a jazz... Continue Reading →
There are many ways to expand and develop a chord-voicings vocabulary. A standard approach is to stack simple structures (triads, quartals, dyads) on top of other simple ones, thus creating a richer color palette for your voicings. These structures are usually called Upper Structures. In the Upper Structures over complete Jazz Standards Progressions book collection... Continue Reading →
What's new in version 7.8.8 (soon to be available)The new version 7.8.8 (already waiting for review on the App Store) will offer four AMAZING ADD-ONS:1000+ Jazz Standard ProgressionsBird Bebop ProgressionsUpper StructuresTarget NotesNow you can import progressions with hand-made full analyses created specifically for Mapping Tonal Harmony Pro. There are two add-ons with progressions: The 1000+ Jazz Standards... Continue Reading →
After The Jazz Standard Progressions Book series was published it was only natural to take a closer look at the harmonic vocabulary used in Bebop repertoire. In the mid-1940s Bebop musicians revolutionized jazz with the use of complex harmonies, thrilling fast tempos and virtuosic instrumental technique. Charlie Parker, also known as “Bird”, would become... Continue Reading →
Every Jazz Musician knows what a Fake-book is. We've all played songs based on lead-sheets, where the chords are just an approximation of what really is going on in the song's progression. Although Jazz harmony is very similar to Traditional Tonal Harmony, it is also packed with functions borrowed from modes other than the standard source... Continue Reading →
I've been asked many times "Why do I need to learn and practice scales?" or "Why do I need to understand chords-scales and tonal harmony?" Some other people complain about the chord-scale theory, saying that they don't want to play scales, meaning they wish to play in the jazz vocabulary, licks, motives, playing rhythmically or... Continue Reading →
Here's a song by Billy Strayhorn that I've always loved and never fully analyzed until writing The Jazz Standards Progressions Book. I've been fascinated by Duke Ellington and Billy Strayhorn compositions since the first time I heard an Ellington album, about thirty years ago. Since then I greatly enjoyed their rich harmonies, rhythmic vocabulary and... Continue Reading →
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