A Close Look Before A Real Rag! (1/3)

This is part 1/3 of learning the version of Black and White Rag that I first learnt when I was 14/15. This video looks at pretty much the only things you need to master in the left hand to be able to lay down a suitable syncopated accompaniment for the right hand to rag over… It will take a few days or weeks but personalise everything I demonstrate in terms of tempo, keys, chord types and vary up the things shown. Do it with your eyes closed as much as possible to real internalise the feel of the octave jump. When ready, enjoy part 2/3 (https://youtu.be/-WYw0FPRdRY)

This is part 1/3 of learning the version of Black and White Rag that I first learnt when I was 14/15. This video looks at pretty much the only things you need to master in the left hand to be able

This is part 1/3 of learning the version of Black and White Rag that I first learnt when I was 14/15. This video looks at pretty much the only things you need to master in the left hand to be able to lay down a suitable syncopated accompaniment for the right hand to rag over… It will take a few days or weeks but personalise everything I demonstrate in terms of tempo, keys, chord types and vary up the things shown. Do it with your eyes closed as much as possible to real internalise the feel of the octave jump. When ready, enjoy part 2/3 (https://youtu.be/-WYw0FPRdRY)

The right hand syncopated pattern is easy alone once it’s in your fingers; the hard part is combining it with the left hand (https://youtu.be/ZjN5ev1sRXE). Once you can do these, enjoy part 3 which you will be much more ready to approach: the Black and White Rag! (posting Sunday afternoon). Part 1/3 is here: https://youtu.be/ZjN5ev1sRXE

As requested, a better, clearer, hopefully slower tutorial to help beginners get this song down once and for all! Nothing complex, just the chords in order and a little right hand melody so you know where we are in the song, plus some left hand accompaniment tips.

Autumn Leaves is just two 251s so rather than learning to improvise over the song, learn the improvise over the 251 which appears in so many other songs. Herein, I show the three steps to improv: chord tones, notes of interest

Autumn Leaves is just two 251s so rather than learning to improvise over the song, learn the improvise over the 251 which appears in so many other songs. Herein, I show the three steps to improv: chord tones, notes of interest then chromatic connections. It’s not just the pool of notes but how you play them. I show you some beneficial ways to improve your feel for improv.

Autumn Leaves is a very easy jazz song because it’s just 2 sets of 251s, one onto the root and one onto the 6th. In this video, instead of worrying about the melody, learn to enhance the 251s because then you

Autumn Leaves is a very easy jazz song because it’s just 2 sets of 251s, one onto the root and one onto the 6th. In this video, instead of worrying about the melody, learn to enhance the 251s because then you can apply the knowledge to almost any other jazz numbers. Be prepared for lots of minor 11ths and 9ths!

Although these Christmas songs are very pretty, so they’re easy that you’ll have them in your fingers in no time. This one follows the infamous 1 6 2 5 progression and of course goes up a fourth via a 2 5 1… nothing new there then! I discuss a few improv ideas for some sugar on top.

This song is not just a Christmas song, it’s a jazz song! I wish it wasn’t because it’s a perfect example of a jazz song: 6251s, up a fourth, floating 251s… so please apply what I discuss in this video to

This song is not just a Christmas song, it’s a jazz song! I wish it wasn’t because it’s a perfect example of a jazz song: 6251s, up a fourth, floating 251s… so please apply what I discuss in this video to any other jazz repertoire you’re working on! You should have this down very quickly, especially if you don’t get too caught up on the melody. It’s jazz! Mess around a bit and have fun!

A good way to get into improvisation is to start using chord tones. I have some videos on this. It is difficult, though, if you can’t find the chord tones quickly in the RH! So I have a little melodic exercise

A good way to get into improvisation is to start using chord tones. I have some videos on this. It is difficult, though, if you can’t find the chord tones quickly in the RH! So I have a little melodic exercise which will help to get used to the chord tones as you play each inversion but really get each one into your fingers. Focus on the popular keys of C, F, G, Eb and Bb first. I also propose to as the 6 after the 251 for an extra common chord and a few more shapes!

Once your major scale shapes are pretty clear in you mind, the next step is to understand note values; the idea that one note can be multiple values depending on the key it is in. This is only possible when you’re

Once your major scale shapes are pretty clear in you mind, the next step is to understand note values; the idea that one note can be multiple values depending on the key it is in. This is only possible when you’re very familiar with the major scales (mastery playlist provided). Herein, I demonstrate using C to explain the philosophy slowly, the exercise and then demonstrate quicker in Eb. For at and away-from-the-piano practice.

When not learning repertoire or major scales (!), it’s a good idea to practise common piano techniques because you are sure to encounter them in repertoire eventually. Even if you want to improvise, these techniques are unavoidable. I hope you’ll personalise them and master the ones you like the most.

Once again, another play-along video, this time to get you to absolute diatonic chord mastery. Through every key, I repeat the chord type pattern for all 7 degrees of each major scale and play the chords slowly, with both hands, so

Once again, another play-along video, this time to get you to absolute diatonic chord mastery. Through every key, I repeat the chord type pattern for all 7 degrees of each major scale and play the chords slowly, with both hands, so that you can get them all down once and for all… if not all 12 keys then at least the diatonic chord types so you can work them out for yourself. Nevertheless, it’s better to play along with me!

Even the greatest jazz pianists had patterns they used often: you can detect Oscar Peterson within ten seconds, for example; he had his own licks and voicings which are instantly recognisable. For us mortals, this is also possible. I give you

Even the greatest jazz pianists had patterns they used often: you can detect Oscar Peterson within ten seconds, for example; he had his own licks and voicings which are instantly recognisable. For us mortals, this is also possible. I give you a nice 251 (and 4 if you continue the pattern) left hand pattern which you should master, eyes closed, in at least C F G Bb and Eb. You’ll be able to use it in so many jazz songs!

One of the first songs I ever learnt, Moonlight Serenade is a lovely Glenn Miller tune I play in F (but the original is in Eb if you go and listen). After a quick performance of both A and B sections,

One of the first songs I ever learnt, Moonlight Serenade is a lovely Glenn Miller tune I play in F (but the original is in Eb if you go and listen). After a quick performance of both A and B sections, I dive into the chord progression of section B and show how and why the chords sound nice, along with the melody. As with most jazz songs, melody notes often include chord extensions and this song is no different! I really hope you add this piece to your repertoire!

Stride appears in many genres of piano music: accompanying singers, solo piano, classical, romantic, pop; it’s also just a really good technical exercise for precision. Herein, we go from simple pinkie bounce all the way to open octave chromatic connections! I

Stride appears in many genres of piano music: accompanying singers, solo piano, classical, romantic, pop; it’s also just a really good technical exercise for precision. Herein, we go from simple pinkie bounce all the way to open octave chromatic connections! I use a variety of chord types to demonstrate and provide a very simple right hand idea to help with hand independence.

My previous tutorial to this is about 7 years old (!) so I thought I’d make an up-to-date one which was shorter and better audio and video quality. I wanted to get straight to the point with this: learn jazz reperoire

My previous tutorial to this is about 7 years old (!) so I thought I’d make an up-to-date one which was shorter and better audio and video quality. I wanted to get straight to the point with this: learn jazz reperoire in blocks: 251, 3625, floating 251 (where the 1 isn’t the master key but a note from its major scale), etc. A few listens can help you get the melody down but you NEED the chords otherwise melody or improvisation or stylistic elements have nothing to play against! I hope this video helps. Score provided.

Herein, I play four old jazz tunes which are all based on the 1625 36251 progression to demonstrate that it’s not the song but the progression you need to learn! I could have chosen 100 other songs to make this point.

Herein, I play four old jazz tunes which are all based on the 1625 36251 progression to demonstrate that it’s not the song but the progression you need to learn! I could have chosen 100 other songs to make this point. I also expand on the variations for the 6th and 2nd chord so it gets a bit fancy-jazz-chord heavy but hopefully you can follow on. Master the progression at least in the keys of C, F, G, Bb and Eb.

Using the A section of The Nearness of You, I demonstrate the much-used 251 onto the 4th progression. Get used to floating 251s onto anything but the root since they happen all the time in jazz repertoire. All only possible with chord type and major scale mastery so be sure to enjoy the following playlists…

It’s been a while since I’ve made a video for this playlist so as part of promoting it, I propose this video which answers a common question: how do I improvise? I give you the three steps which avoid getting stuck

It’s been a while since I’ve made a video for this playlist so as part of promoting it, I propose this video which answers a common question: how do I improvise? I give you the three steps which avoid getting stuck in scales and modal theory and don’t just say ‘copy me’. I hope this video becomes a solid go-to video for you to remind you of the three steps to help you. By all means enjoy my jazz piano playlist for more details but this should get you going to discover how You improvise, not how others do it or what a book says! Yuck!

Many people dive into Boogie-Woogie with two hands but I propose getting a few/or your favourite left hand patterns down first, in a few keys, eyes closed, to make sure your left hand has the correct and comfortable fingering for the

Many people dive into Boogie-Woogie with two hands but I propose getting a few/or your favourite left hand patterns down first, in a few keys, eyes closed, to make sure your left hand has the correct and comfortable fingering for the shape in the keys (1 4 5 progression). Part 2 will bring in the right hand. Part 3 gives 5 of the most common right hand techniques. Remember that BW doesn’t need to be played super fast so aim for steadiness in execution combined with precision.

I thought I’d give you a composition which involves many common elements of blues and boogie piano. I’m more than happy to make a part 3 which takes this topic further. Part 1 encourages you to get down some left hand

I thought I’d give you a composition which involves many common elements of blues and boogie piano. I’m more than happy to make a part 3 which takes this topic further. Part 1 encourages you to get down some left hand patterns, one of which I use herein. It’s quite a challenge but you can personalise everything to your tastes. Have fun!

This is a nice little ditty to use as a backbone to get the 12 bar blues ‘feel’ down, as well as some nice jazz voicing positions in the left hand. If enough ask for a Part 2, I’ll do it! It will be on embellishing the melody step by step to a full improvisation.

Just a little easy video reminding you of the three steps to improvisation: chord tones, notes of interest (9, 13, b5 usually) and chromatic connections between those. I’m using the simple song: I’ve Got a Crush on You, in Bb. Chords provided in the video.

After You’ve Gone is a very flexible piece in terms of chord choice, melody and rhythm. You can almost play it how you want! Herein, I just go through the chords I use to play it. You’ll pick up the melody

After You’ve Gone is a very flexible piece in terms of chord choice, melody and rhythm. You can almost play it how you want! Herein, I just go through the chords I use to play it. You’ll pick up the melody as we go but that’s usually last anyway. Put the progressions together in little blocks, mastering them as you go. Listen a lot to originals and covers by various instruments to help get the structure.

In this miniseries, we’re looking at the melody of Misty. As with all jazz repertoire, get it on your internal jukebox, find blocks of melody and patterns of it for easier memorisation, then play little games to master it. Herein,

In this miniseries, we’re looking at the melody of Misty. As with all jazz repertoire, get it on your internal jukebox, find blocks of melody and patterns of it for easier memorisation, then play little games to master it. Herein, I provide a performance (since I know people like that), then the melody, then some ideas such as using only one finger, both hands, octaves, adding grace notes and rolling the melody with nice chords like Errol Garner did. Part 2 will be chords.

Part 1 is necessary to be able to handle this video. I take you step by step through developing the left hand, then the right with variations, then bringing them both together, with some exercises to boot! After these two videos, I promise you’ll be able to tackle all the ragtime music you wish to play!

Often, people think ragtime is played straight but it’s often swung, as Scott Joplin himself would do. You must get this rhythm/pulse down first and then do the technical exercise I provide before moving on to Part 2 or even hoping to play any ragtime repertoire or improvisation. Good luck!

This is a very simple piece to learn so I use it to give a few ideas of LH/RH styles which can be applied to other jazzy repertoire.The chord progression for Section A1/A2, as demonstrated and reinforced, is: A) I /

This is a very simple piece to learn so I use it to give a few ideas of LH/RH styles which can be applied to other jazzy repertoire.The chord progression for Section A1/A2, as demonstrated and reinforced, is: A) I / biii(dim) / bVI7 / V7… I, VII7, VI7 // B) IV7 / iv7 / I / bVI7 / V. Section B: (floating off the b6): I / vi7 / ii7 / V7 / repeat 3 times.. then I / vi / back to master key’s V7 and start again

In order to encourage you to apply your knowledge gained from my videos (useful videos linked below), let me demonstrate how you might compose a jazz piece using common progressions, chord types and a way to choose notes for the melody

In order to encourage you to apply your knowledge gained from my videos (useful videos linked below), let me demonstrate how you might compose a jazz piece using common progressions, chord types and a way to choose notes for the melody (primarily from chord tones). I play a lot in this video, it’s totally spontaneous and no, there is no score for it! You know it numerically and can identify the melody by ear from your internal jukebox! Post progress reports if you wish

Really, once you have mastered, away from the piano, the content of this video, you will have conquered at least 90% of jazz repertoire. This doesn’t mean you can suddenly play everything; no, you still need to get the piece

Really, once you have mastered, away from the piano, the content of this video, you will have conquered at least 90% of jazz repertoire. This doesn’t mean you can suddenly play everything; no, you still need to get the piece on your internal jukebox and know your major scales like counting to seven (see what I did there?), and you still need to know the four primary chord types… but once this progression collection is internalised, you will have access to being able to play almost anything once dissection has taken place

Learning a new song such as this one, My Favourite Things, is a process which takes place 90% away from the piano and 10% at it. The 90% involves listening to the original and then variations, if desired, until it’s

Learning a new song such as this one, My Favourite Things, is a process which takes place 90% away from the piano and 10% at it. The 90% involves listening to the original and then variations, if desired, until it’s playable on one’s Internal Jukebox. The lyrics are then acquired, thus the structure and melody are known passively