Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 2Introduction: In this lesson, we will be discussing the harmony of the jazz standard “Misty” and applying some new techniques to “There Will Never Be Another You”. This post is a follow-up to a previous video by mDecks Music, so make sure to watch Part One first if you haven’t already.

Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 1

We will cover the 2-5-1 progression and its extension, the 1-6-2-5, and how they are used in “Misty”. We will also explore a variation of the 3-6-2-5 progression in “Misty” using secondary dominance that tonicizes the ii.

Here’s a summary of the lesson:

Section 1: The 2-5-1 Progression in “Misty”

Definition of the 2-5-1 progression

How it is used in “Misty”

Examples of the 2-5-1 in “Misty”

Explanation of the bracket and arrow notation used to find ii-V-Is

Section 2: The 1-6-2-5 Progression in “Misty”

Definition of the 1-6-2-5 progression

How it is an extension of the 2-5-1

Examples of the 1-6-2-5 in “Misty”

Explanation of the chord progression in the key of C and Eb major

Section 3: Variation of the 3-6-2-5 Progression in “Misty”

Definition of the 3-6-2-5 progression

Explanation of the variation in “Misty” using secondary dominance

Analysis of the Gm7 chord in measures 7 and 8

Explanation of the ii/ii – V/ii – ii – V progression

Section 4: The Back-door Progression applied to “There Will Never Be Another You”

Conclusion: In conclusion, the harmony of “Misty” demonstrates the importance of the 2-5-1 and 1-6-2-5 progressions in jazz music. The variation of the 3-6-2-5 in “Misty” using secondary dominance shows the versatility and creativity of jazz musicians. By applying these techniques to “There Will Never Be Another You”, we can see how they can be used in different contexts and expand our understanding of jazz harmony.

For more jazz tutorials like this one check our mDecks Music YouTube Channel and visit mDecks.com

Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 1If you’re a songwriter or a musician, you may have come across the term “harmony” before. But do you know what it means? Harmony is the simultaneous sounding of two or more notes, creating chords that give a sense of structure and tonality to a piece of music. In jazz, harmony is the best tool that we have for songwriting, yet it’s often neglected by many songwriters and musicians. In this blog post, we’ll explore jazz harmony and how you can use it to play, improvise, arrange or even write music.

To start, let’s take a look at the harmony in the jazz standard “Misty”. The song is in the key of Eb major, and the first chord is an Imaj7 (Ebmaj7). The next chord is a IVmaj7 (Abmaj7), which is a target chord approached by way of its 2-5. This is where the Berklee College of Music’s method of harmonic analysis comes in handy, using arrows and brackets to show the progression harmonically, without any chord symbols.

By studying the harmony of “Misty” from this perspective, we can clearly see that this is a secondary 2-5-1, where the target is not the I of the key. Instead, the ii/IV and the V7/IV are called secondary functions, because they target a primary function. The ii prepares the target by positioning the listener in the subdominant of that target, which then goes to the V in the dominant region which in turn, desperately wants to resolve to the target.

An important aspect of the 2-5-1 is that harmony follows the expected path of resolution towards a target. The ii chord prepares the target by positioning the listener in the subdominant of that target, which then goes to the V in the dominant region which in turn, desperately wants to resolve to the target. Also, the 2-5-1 creates the strongest bass movement of two consecutive perfect fifths.

Using this method of contextual deduction, we can work our way backwards from the target to determine the 2-5-1 progression. For example, in the case of Eb, the ii is Fm7, which would make our progression Gm7 to C7 to Fm7. If the target is the I (Eb), we would have Fm7 Bb7 to Eb, a primary 2-5-1.

Throughout “Misty”, we can see several 2-5-1 progressions using this method of analysis. It’s essential to consider the target when dealing with harmony, and always work backwards from there.

The 2-5-1 progression is crucial to understanding and playing jazz. It creates tension and release, and adds a sense of movement and resolution to a piece of music. By studying the harmony of great jazz standards like “Misty”, you can learn a bunch of new concepts that you can apply to your own process.

In conclusion, harmony is the best tool that we have for songwriting, and it’s important to study and understand it to become a better musician. By using the Berklee method of harmonic analysis, we can learn how to look at the progression harmonically, and study the different techniques used in jazz music. Whether you’re playing, improvising, arranging, or writing music, understanding jazz harmony can help you take your music to the next level.

If you want a workbook with harmony worksheets containing more than 1300 Jazz Standards to study and work on, check out The Ultimate Jazz Harmony Workbooks Bundle by mDecks Music

And if you want all Jazz Standards fully analyzed (with chord symbols, chord-scales, and arrows & brackets) check out The Jazz Standards Progressions Book by mDecks Music

If you want to learn more about the harmony in ‘Misty’ you can check out part 2: Learning Jazz Harmony the Berklee Way: Deconstructing ‘Misty’ – Part 2

Unlocking the Magic of Jobim’s Harmony: A Step-by-Step Guide to ‘The Girl From Ipanema’ Jazz Harmony LessonWelcome to this jazz tutorial on Jobim’s timeless classic, The Girl From Ipanema. Let’s take a closer look at the intricate harmony of this song.

In this video we’ll see how Jobim’s use of out-of-the-ordinary dominant chords is simply brilliant. It’s no wonder why Jobim is known for pushing the boundaries of traditional harmony, always keeping us on our toes with unexpected but stunning chord progressions. No matter how much you think you know about jazz harmony, Jobim’s genius will continue to challenge and inspire you.

And stick around until the end of the video where I’ll show you how to download a pdf for today’s lesson.

In this video, we’re going to explore the unconventional chord progressions and clever pivots that make Jobim’s composition a true masterpiece. So get your ears ready and your mind open, because we’re about to reveal the brilliance of one of the greatest composers of all time.

So, what makes “The Girl From Ipanema” so special? Well, let me tell you, it’s all about Jobim’s interesting use of dominant chords! Dominant chords are usually used as primary or secondary V7 chords, but Jobim switches it up by avoiding these functions most of the time. Even when he does use them in the progression, he adds his own unique twist to keep things interesting.

Let’s take a look at measure 6. If you listen closely, you’ll notice that the chord progression is a reharmonization of a typical 2-5-1 progression. But instead of using the V7 (C7), Jobim gets creative and replaces it with the subV7 (Gb7b5), giving us a 2-sub5-1 path. Here’s where it gets even more interesting: normally, the subV7 is paired with the lydianb7 scale, creating a 7#11 chord. However, Jobim turns the #11 into a b5, making it a chord tone, and eliminating the natural 5 altogether. This little trick adds a unique flavor to the progression and sheds light on Jobim’s treatment of dominant chords.

At first glance, the G7 in measure 3 might seem like a V7/V chord. In fact, the V7/V is a great chord to use when targeting a 2-5 progression, which is just a V chord that’s been embellished with an interpolated ii chord.

Let’s take the example of the key of F major. The C7 chord is the V7, and we can target it with its V chord, which is G7. This tonicizes the V7 chord, which then resolves to the I chord, which is Fmaj7. This gives us a standard and effective progression: I – V7/V – V7 – I.

Now, if we interpolate the related ii before the V7, we get Fmaj7 – G7 – Gm7 – C7 – Fmaj7. This turns the progression into a Imaj7 – V7/V – iim7 – V7 – Imaj7.

But here’s where things get interesting. In “The Girl From Ipanema”, the G7 chord sounds much better when paired with the Lydianb7 scale, turning the G7 into a G7#11. This is a dominant chord with a #11, and thus turns the G7 into a II7 chord. And yes, the II7 is a real function!

This II7 chord is very closely related to the V7/V, but it’s a 7#11 chord. You’ll find this chord in many jazz standards, like in “Take The A Train”, and also “Desafinado” (another Jobim song).

So, the path Imaj7 – V7/V – iim7 – V7 – Imaj7 turns into a Imaj7 – II7#11 – iim7 – V7 – Imaj7. And if you listen to great jazz players, you’ll hear how they use a C# in their lines (the #11 of G7) when they improvise over that G7 chord.

But, as we said before, Jobim takes it one step further and reharmonizes the V7 (C7) chord with the subV7 (Gb7), and reinterprets the #11 as the b5 turning the Gb7 into a Gb7b5. This reharmonization turns this: (Imaj7 – II7#11 – iim7 – V7 – Imaj7) and turns it into this: (Imaj7 – II7#11 – iim7 – subV7b5 – Imaj7.)

This is a testament to Jobim’s genius and creativity, as he was able to take a common chord progression and completely transform it into something unique and beautiful.

But things get really interesting in the B section when we analyze the dominant chords B7, D7, and Eb7. At first glance, they seem to not follow any pattern at all, but a clue is hidden in the melody. When we look at the roots of these dominant chords, we see a modulation pattern of a minor 3rd up and then a half-step up, which is exactly the modulation pattern in the melody.

But what’s the function of these dominant chords? And where’s the tonic? The trick is to understand dominant chords as Jobim does. They’re not primary or secondary dominant chords, but rather bVII7 chords borrowed from the minor mode. The bVII7 is a great modal interchange chord that’s usually preceded by the iv minor chord, targeting the I chord in a progression known as the backdoor progression.  In fact, we could just replace the V7 chord with the bVII7 in a 2-5 progression if we wanted to, and that’s exactly what Jobim is doing. We actually have a whole video dedicated to the bVII7 chord so be sure to check that out after you finish watching this.

So, if we consider these three dominant chords in the B section as bVII7 chords, then they should all be paired with the lydianb7 scale, becoming 7#11 chords. By reharmonizing the Gbmaj7 in the first measure of the B section with an Ebm7 dorian, we now have an entire sequence of iim7 to bVII7 chords. Ebm7 to B7#11 is a ii – bVII7 in the key of Db. Modulating a minor third up gets us to F#m7 to D7#11, also a ii – bVII7, but now in the key of E. And if we modulate again, a half-step up, we get Gm7 to Eb7, which is also a ii – bVII7, only back in the original key of F major.

All these dominant chords are functioning as bVII7’s, and the first chords are iim7’s. We just need to reharmonize the first ii in Db major with a Gbmaj7. Don’t forget that the Gbmaj7 is the IV in the key of Db. And the IV chord is a very common reharmonization of the ii chord, both of them belonging to the subdominant region.

Once we understand this interpretation of the harmony, we can see how creative and tricky Jobim is at harmonization. The Gbmaj7 chord throws everyone off at first, because it seems like a modulation a half-step up, but in reality, it’s the IV chord in the key of Db and is actually functioning as a lydian chord.

So, the actual modulation is from F major to Db major, a major 3rd down. And Jobim gets back to the original key by modulating first a minor third up and then a half-step up. When we look at this sequence in the map, it becomes obvious what’s going on in the B section. The harmonic movement is exactly the same in all three iterations of the sequence, from the subdominant to the dominant but never resolving to the Imaj7 of the current key. It’s simply genius!

So there you have it, the genius behind Antonio Carlos Jobim’s harmonic progressions. If you’re fascinated by the intricate details of harmony in music and want to explore it further, I highly recommend getting the Mapping Tonal Harmony Pro app, available for Mac, iPhone & iPad. With its comprehensive features and tools, you can dive deep into the world of tonal harmony and analyze any piece of music you want. So why not give it a try and see where your musical curiosity takes you?

Mapping Tonal Harmony Pro VideosIn this playlist we show a bunch of tutorials and demos using Mapping Tonal Harmony Pro

you can learn more about Mapping Tonal Harmony Pro here: Mapping Tonal Harmony Pro Official Website

“Mother’s Hammer” by ANNABEL LEE is a Genre-Defying MasterpieceOn this International Women’s Day, I’d like to celebrate the achievement of the most inspiring woman I know.  The first time I saw Annabel Lee perform was at an intimate songwriter night in Los Angeles. The room was in disbelief at what we had just collectively experienced. A mix of unbridled power with raw poetic […]

Jazz Tutorial: Creating an Artistic Interpretation of a Song with Piano. Someday My Prince Will Come – Pro LevelYou can check level 3 (Advanced level) in this post here: Jazz Tutorial: Advanced Arrangement of Someday My Prince Will Come

Jazz music is known for its improvisational nature and artistic interpretation of songs. In this tutorial, we’ll explore how to create an artistic interpretation of a song on the piano, using the example of a dreamy and impressionistic version of a jazz standard.

First, it’s important to adopt the perspective of an artist. Think of yourself as a painter, using colors and textures to create a unique version of the song. The piano has a wide range of dynamics and articulations that can be used to create a broad spectrum of sound.

In this version of the song, the intro is a departure from the original arrangement, but it still has elements of the original melody and harmony. The intro showcases the versatility of the piano, using sudden moments of loud and soft, and gradual crescendos and diminuendos.

To create an artistic interpretation of the song, it’s important to keep in mind the tools available to us, including the piano’s range and articulations. In the intro, we see a nice long legato run in measure 6, followed by a nice implementation of separated and detached staccato notes. There’s also a good illustration of subtle dynamics in the B/D7 chord in the second measure, which pops out of nowhere and fades into a softer dynamic in the Ebmaj7#11 chord.

Throughout the intro, we see examples of how the melody is present, even if it’s not super obvious. For example, the F note is the 5th of the F chord, and then it jumps up to an A# (Bb), the #11 of the F#/E7#11 chord. Then it jumps down to be the F#, the 3rd of the D7 chord. The melody is also present in the voicings of the chords, sometimes as the highest note and other times as an interior note.

One way to create an artistic interpretation of a song is to re-harmonize it. In this version, the only reharmonized chord is the F#/E7#11. One way to approach re-harmonization is to consider what chord tone the melody note could be, and plug that chord in.

Upper structures are also a great tool for creating new colors and textures in jazz music. In this version, we see examples of upper structure triads, upper structure quartals, and upper structure pentatonic voicings.

To create your own artistic interpretation of a song, experiment with different chords, voicings, dynamics, and articulations. Remember that the piano is a versatile instrument, and there are countless ways to paint your picture with sound.

In conclusion, creating an artistic interpretation of a song on the piano requires a perspective of an artist, a deep understanding of the piano’s range and articulations, and a willingness to experiment with different chords and voicings. Keep the melody in mind, even if it’s not super obvious, and use tools like reharmonization and upper structures to create new colors and textures. With these tools and techniques, you can create a unique and beautiful version of any song.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

Jazz Tutorial: Advanced Arrangement of Someday My Prince Will ComeYou can check level 2 (Intermediate level) in this post here: How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”

Someday My Prince Will Come is a classic jazz standard that has been recorded by numerous jazz musicians. In this tutorial, we will explore an advanced arrangement of this song and discuss some techniques that can be used to create more complex and interesting arrangements.

Before we get started, let’s talk about what to expect in this level 3 arrangement. We’ll be using techniques from the previous levels, such as embellishing the melody, enclosures, and broken chords on the left hand. However, we’ll also be introducing some new techniques like borrowing from the minor key, modal interchange chords, and a more advanced rhythmic grid.

Setting Up an Introduction

The first thing we’ll discuss is the introduction. The intro sets the tone for the entire song and is a great way to build tension and establish the key. In this arrangement, we’re using a dominant pedal point in the key of F to build tension. The dominant of our key is Bb, so we’re using the note F as a pedal point in the bass. This creates a clearly defined anchor for the listener and allows us to introduce chords that aren’t in the key, like the Db/F and C/F in the intro.

Borrowing from Minor

Another technique used in this arrangement is borrowing chords from the minor key. We can borrow chords from the parallel minor key to add a bit of color to the arrangement. For example, in the first line of the arrangement, we’re using the bVI chord from the Bb minor key, which is Dbmaj7.

Modal Interchange Chords

Modal interchange chords are another way to add color to your arrangement. These are chords that are borrowed from a parallel mode or key. In this arrangement, we’re using modal interchange chords to create an intro and outro. We’re using chords from the Bb Mixolydian mode to create an intro that leads us into the song. Then, in the outro, we’re using chords from the Bb Aeolian mode to create a sense of resolution.

Advanced Rhythmic Grid

The rhythmic grid is another important aspect of this arrangement. We’re using an eighth-note subdivision to define our grid, which creates a more complex and interesting rhythmic feel. The left hand is also filling in the spaces offered up by the right hand, which creates a more clearly defined bass line.

Upper Structure Chords

Finally, we’re using upper structure chords in this arrangement. Upper structure chords are chords that are built on top of a basic triad or seventh chord. They allow us to highlight tensions within the chord and create a unique and interesting voicing. In this arrangement, we’re using a D/F7 chord as an upper structure chord in the intro.

Conclusion

In this tutorial, we’ve explored an advanced arrangement of Someday My Prince Will Come and discussed some techniques that can be used to create more complex and interesting arrangements. By borrowing chords from the minor key, using modal interchange chords, and creating a more advanced rhythmic grid, we can create an arrangement that is both sophisticated and accessible. We hope this tutorial has given you some ideas and inspiration for your own arrangements. If you’re interested in learning more about jazz theory and improvisation, be sure to check out mDecks Music‘s other resources.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

You can read the next level jazz tutorial (Pro Level) of Someday My Prince Will Come here:Jazz Tutorial: Creating an Artistic Interpretation of a Song with Piano. Someday My Prince Will Come – Pro Level

How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”You can check level 1 (Beginner’s level) in this post Interpreting Lead Sheets: How to Bring the Music to Life. Someday My Prince Will Come – Beginner’s Level

If you’re interested in learning how to play “Some Day My Prince Will Come,” you’re in the right place! In this tutorial, we will be discussing the level two arrangement of this classic tune from the Real Book. We will also be going over some basic music theory concepts, such as chord voicings and rhythmic grids.

Before we dive into the level two arrangement, take a moment to listen to all four levels of the song back to back. This will give you an idea of how the arrangement progresses from level one to level four.

Now, let’s dive into the level two arrangement. This arrangement builds on the concepts introduced in level one, such as playing chords and the melody pretty much as is, using closed voicings on the left hand, and considering seven chords as our default setting. However, there are some new concepts introduced, such as an increase in the grid complexity and the implementation of rootless voicings.

One of the biggest departures from level one is the increase in rhythmic grid complexity. This is achieved by breaking the chords on the left hand, which fills in the gaps where the melody was not playing on two, and gives us a more continuous pulse. This also gives us a more clearly defined baseline.

In measures 4, 5, and 6, we implement rootless voicings. In measure 4, we omit the root on the left-hand voicing, but it’s still going to land to the ear as if it were there because it’s present in the melody. In measures 5 and 6, we use a more literal interpretation of what a rootless voicing is, by replacing the root with the 9th and completely getting rid of the root in a G7#5 chord.

In the next eight-measure phrase, we omit the left hand on the downbeat of each measure and let the right hand take control over illustrating where the beat is. This makes the rhythmic grid more defined, and there’s more than one way to achieve that. In measures 16 through 18, we introduce the right hand as an idea to fill in the spaces of our rhythmic grid.

We hope this tutorial helps you learn how to play the level two arrangement of “Some Day My Prince Will Come.” To access the arrangements visit mdecks.com

Interpreting Lead Sheets: How to Bring the Music to Life. Someday My Prince Will Come – Beginner’s LevelAre you tired of playing music from the Real Book that sounds robotic and lifeless? Do you want to make your music more engaging and expressive? If so, you need to learn how to interpret lead sheets.

In this video, we’ll take a deep dive into the Real Book and show you how to make the most out of its lead sheets. We’ll start by explaining why you shouldn’t take the lead sheets too literally. Instead, you need to think of them as a sort of impressionistic painting of the song. There’s a lot of context that is either implied or missing altogether, not to mention all the mistakes that can be found within the Real Book. Therefore, it’s up to you to provide context and make deliberate musical choices.

The fact that lead sheets aren’t dedicated to a specific instrument speaks to how much context is missing and how important it is for the player to provide this context. When you stop looking at the Real Book’s lead sheets as literal depictions of the songs, you’ll begin to make choices that make the music come alive.

But where do you start? In the video, we provide a literal interpretation of the lead sheet for the song “Someday My Prince Will Come.” We play everything in root position, which creates something that is both physically demanding and void of voice leading. Playing the melody in such a literal and simplified way does not do the music justice.

Instead, we show you a few simple and easy-to-implement techniques to make the music sound better. On the left hand, in level 1, we merely play each chord on the downbeat of each measure, using a combination of root position, inversions, and rootless voicings. This creates smoother voice leading and more musicality. We use inversions to create smooth voice leading and make it easier to play. We also implement rootless voicings, which are a common technique used in these standards.

We provide examples of how we use these techniques throughout the song. For instance, we use an inversion on a G7#5 chord in the fourth measure. This creates smoother voice leading from the Ebmaj7 to the G7#5 and makes it easier to play. We also use rootless voicings on Cm7 chords to create smoother voice leading and more musicality. In measure 8, we use an inversion on an F7 chord to lead nicely away from the C7 we came from and create a physically easier-to-execute movement.

In addition to these techniques, we also show you how to use rhythmic displacement to make the music sound better. We use a simple rhythmic displacement technique in measure 18, which displaces the melody slightly later than it was originally intended to be. We also use a dotted quarter-note rhythm in measure 19 to anticipate the melodic note.

By the end of the video, you’ll have a better understanding of how to interpret lead sheets and make the music come alive. You’ll know how to use inversions and rootless voicings to create smoother voice leading and make it easier to play. You’ll also know how to use rhythmic displacement to make the music more engaging and expressive.

If you want access to all of these arrangements (Beginner’s • Intermediate • Advanced • Pro) you can download them here: Someday My Prince Will Come in 4 levels

Part 2: Intermediate level on how to play Some Day My Prince Will Come from the Real Book is here: How to Play the Real Book: Level 2 Arrangement of “Some Day My Prince Will Come”

Promoting Shows and Engaging Fans with BandsintownWith 560,000 registered artists, Bandsintown is one of the largest artist services platforms in the world. 97% of the Top 500 artists in America are active on the platform.

Mastering Jazz Harmony: The Ultimate Exercise to Practice Target NotesAre you looking for an effective exercise to improve your understanding of jazz harmony and sharpen your improvisational skills? Look no further! In today’s video, we’ll explore the best exercise to practice target notes, a fundamental concept in jazz that can transform your playing.

Watch the entire lesson in video format (from the mDecks Music YouTube Channel)

The exercise consists of two steps: chord-tones and guide-tone lines. Let’s take a closer look at each one.

Step One: Chord-tones

Chord-tones are the notes that make up a chord, including the root, 3rd, 5th, and 7th (or 6th). By focusing on a single chord-tone and playing it over the entire tune, you’ll gain insight into the harmonic progression from a more linear perspective.

For example, if you choose to work on the 3rd of the chord, you would play the major third (E) over a Cmaj7, but over Cm7 you’d have to play Eb (the minor 3rd), and for a C7sus4 you’d have to play an F (the sus4). By doing this exercise for all chord-tones, you’ll memorize tunes and internalize chord progressions more deeply.

Step Two: Guide-tone lines

If you know your chord-tones well, you can move on to the more advanced step of guide-tone lines. Guide-tones are the 3rd (or the 4th in a sus4 chord) and the 7th (or the 6th in sixth chords). By creating a line that goes from guide-tone to guide-tone across the entire tune, you’ll trace the harmonic progression in the most effective way possible.

A good guide-tone line reveals the secrets behind the chord progression and offers the best picture of what a tune’s harmony is all about. By learning how to walk these guide-tones, you’ll improve your improvisational skills and train your ear like no other exercise.

To illustrate this, we’ll take a 2-5-1 progression (Dm7 – G7 – Cmaj7) and trace the guide-tones. The smoothest lines are F F E, and C B B. These two lines are tracing the 2-5-1 in a way that reveals what a 2-5-1 progression is all about.

By practicing both chord-tones and guide-tone lines, you’ll develop a deep understanding of jazz harmony and be able to improvise with greater fluency and ease. And if you want to take your practice further, check out our collection of Jazz Standards from the real book, all laid out for you with chord-tones, tensions, and lines. Visit our website mDecks.com for more information and to access a PDF with all the steps applied to “Alice in Wonderland”.

BTW, you can get the entire jazz standard repertoire with chord-tones, guide-tones lines and tensions on the mDecks website: The Target Notes Jazz Book

In conclusion, the exercise we shared with you today is a must-try for any jazz musician looking to take their playing to the next level. With consistent practice, you’ll master target notes and unlock the secrets of jazz harmony. Happy practicing!

Master Bebop Improvisation with ‘Bebop Lines You Should Know’Are you a jazz musician looking to take your improvisation skills to the next level? Look no further than “Bebop Lines You Should Know,” the must-have book for anyone serious about mastering the art of bebop improvisation.

Bebop is more than just a style of music – it’s a language, and this book covers everything you need to know to become fluent. From essential phrases to advanced concepts like Chromatic Approaches and Enclosures, you’ll learn the idiomatic patterns that define the genre.

The book features a carefully curated collection of bebop lines from legendary artists like Bud Powell, Kenny Barron, Wynton Kelly, and Bill Evans. With all workouts provided in every key, you’ll be able to internalize these lines and practice improvisation like a pro.

But that’s not all – “Bebop Lines You Should Know” also includes video lessons covering the basics of bebop improvisation, play-along backing tracks, and demos with the bebop lines performed on piano over the same backing track. You’ll be able to practice and perfect your improvisation skills in a variety of contexts, ensuring that you’re ready to perform in any situation.

Line #21 with variations based on a Bill Evans line over 8 measures.

To take your practice to the next level, the book includes a Mapping Tonal Harmony Pro XML file with progressions from the bebop lines, including classic tunes like My Foolish Heart and Misty. With this file, you can practice at different tempos, mute tracks, and/or change accompaniment styles. And if you don’t already have Mapping Tonal Harmony Pro, you can learn more about it and download it to get started.

Whether you’re a beginner or an experienced musician, “Bebop Lines You Should Know” is an indispensable tool for mastering bebop improvisation. So don’t wait – order your copy today and start your journey towards becoming a true bebop master!

Available for C, Bb and Eb Instruments. Download it today on mDecks.com

Mapping Tonal Harmony Pro CrashesThis is a list of crashes and issues in Mapping Tonal Harmony Pro 9 and how to solve them in different devices.

The app crashes when I hit play (or it sounds weird when playing backing tracks)

Solution. Check that the A.I. players range makes sense. Open the players menu and change the player to reset the voicings range. Then save the performance (on macOS just click on the SAVE button on the top menu, on iOS tap on the “box with an arrow”

Streaming, AI, Royalty Breakdown and Sync (Ari Q&A Part 4)This week Ari answers more of your questions! If you’d like to submit to our next round of questions, please sign up to our email list: www.aristake.com

Theo Katzman (of Vulfpeck) on Recording, Songwriting and Staying IndependentTo celebrate the third edition of How to Make It In The New Music Business, the Ari’s Take team collaborated with Shuttershot Productions to capture Ari Herstand’s special interview and Q&A with the incomparable Theo Katzman (of Vulfpeck). This episode was recorded live at The Grove’s Barnes & Noble in Los Angeles on January 17th.