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

Before even contemplating playing songs with a left hand walking bass accompaniment, be sure to get the technique and feel down so the left hand can pretty much work on autopilot. Herein, I provide some ideas for you to play around with, including a 12 bar blues example to replay slowly and try out for yourself!

Greetings. We meet again. For my first video back, I thought it would be a good idea to share exactly the kinds of things I'll be doing over the next few days as I return to my keys after 4 months

Greetings. We meet again. For my first video back, I thought it would be a good idea to share exactly the kinds of things I'll be doing over the next few days as I return to my keys after 4 months (the blog article I mention will be written tomorrow which discusses why I needed a break and hibernated for a while). I hope you'll enjoy this video and have a good rummage through my playlists to bring yourself up to speed with scales, chords and exercises, not to mention lots of jazz song tutorials! Further requests welcome in the comments.

Playing the blues isn't only about the notes, it's about how you play them and how you use space as a note too. In this video, I provide two right hand licks which can be used over and left hand pattern

Playing the blues isn't only about the notes, it's about how you play them and how you use space as a note too. In this video, I provide two right hand licks which can be used over and left hand pattern of your choice but emphasis is simply given to when you play the lick and how you hesitate or stretch it rather than just playing it as if on a loop. I end by showing how to play it in multiple octaves via a blues scale notes connection, which sounds great.

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!

There are a LOT of chords. Herein, I show my favourite one in each key so you are not too overwhelmed. I have another video provided here which shows the most common chord types in each key which is more than

There are a LOT of chords. Herein, I show my favourite one in each key so you are not too overwhelmed. I have another video provided here which shows the most common chord types in each key which is more than I show here so I recommend watching them one after the other. Acquire some upper chord structure and voicing theory. If you like one, take the note values and apply it to all keys. Always use natural fingering. Enjoy!

Just a little reference video for how my fingers naturally fall on the major scales. Don't aim to play them a million miles an hour; focus on precision and endurance. It's a work-out which also helps to reinforce these all-important shapes. Make sure also to warm up your hands physically before doing this for even more comfort.

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!

There are already endless videos and articles online showing you the most common chord progressions and in which songs to find them so I wanted to do something different... a bit more danthecomposery, so I came up with this video idea:

There are already endless videos and articles online showing you the most common chord progressions and in which songs to find them so I wanted to do something different... a bit more danthecomposery, so I came up with this video idea: find a random interval (or two), identify it, know what it will feel like before you play it, then see if you're right. Then choose a chord type for each note and feel how they will sound before you play them. Combine the interval and chord type together in your mind first, then see if it sounds the same when you play it. Even if it doesn't, you'll start to learn the results anyway so it's a win-win!

I have always felt that ear training is a bit of a party trick. After all, you can just find the chords to a song or the melody from the sheet music, or by going to the piano and 'finding the

I have always felt that ear training is a bit of a party trick. After all, you can just find the chords to a song or the melody from the sheet music, or by going to the piano and 'finding the notes on it' while listening (or using your internal jukebox if you know the song very well). That said, instead of doing dry app-based training, try to take a more meditative approach and associated emotional reactions or visuals to the intervals as you play them in all keys randomly, ascending and descending. Part 2 will be on doing the same but for chord progressions.

Sometimes, you want to freestyle your own version of classical repertoire. It's common to want to do that! So I decided to make a video using the first part of Liebestraum by Franz Liszt. Basically you study the chord progression, identify

Sometimes, you want to freestyle your own version of classical repertoire. It's common to want to do that! So I decided to make a video using the first part of Liebestraum by Franz Liszt. Basically you study the chord progression, identify the melody as part of the master key of the piece and enjoy applying random techniques to both parts. Have fun taking what I discuss and trying to apply them to your own classical repertoire choices!

Often, your fingers will be uneven in power when they touch the keys. This video helps to fix that by having you train each finger to know what it feels like to play very softly, normal and very loudly. Filling in

Often, your fingers will be uneven in power when they touch the keys. This video helps to fix that by having you train each finger to know what it feels like to play very softly, normal and very loudly. Filling in the spaces between these layers comes later. Mix and match with other areas of study such as major scale shapes or octaves.

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.

You may think extensions is an overwhelming topic but I'd like to show you that it isn't. You simply use the major scale to identify the 2nd, 4th and 6th which are the same notes as the 9th, 11th and 13th.

You may think extensions is an overwhelming topic but I'd like to show you that it isn't. You simply use the major scale to identify the 2nd, 4th and 6th which are the same notes as the 9th, 11th and 13th. I first show the extensions which work with which chord types (the 9 is welcome everywhere!) and then provide the two games which put this knowledge into action. It's a melodic idea, as I demonstrate, so make the exercises as fancy or easy to begin with as you wish.

It's a fancy technique which fills solos and helps when accompanying a singer very well but often the pianist cannot execute it well. In this video, I explain the important of the octave jump behind rapid arpeggios. Emphasis is on the

It's a fancy technique which fills solos and helps when accompanying a singer very well but often the pianist cannot execute it well. In this video, I explain the important of the octave jump behind rapid arpeggios. Emphasis is on the thumb for the ascending run but if you want to descend, you'll need the precision for the ring and little finger as well. Everything I say and demonstrate with the right hand will apply to your left hand too.

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.

Usually, you play chords with the left hand and 'stuff' with the right hand. I thought I'd switch them over for this video so you play melodies with the left hand and a chord with the right. We're only focusing on

Usually, you play chords with the left hand and 'stuff' with the right hand. I thought I'd switch them over for this video so you play melodies with the left hand and a chord with the right. We're only focusing on major scales and a major triad, nothing too fancy but good practise for you in terms of hand independence and freedom of expression. See what happens! You can stay in one key for a long time and it doesn't get too boring...

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!

Sometimes you don't want to play a song or look at lead-sheets, you just want to make your own interesting progression. But how? First, throw all theory out the window! Just four notes; these represent the bass/key movement of the chords.

Sometimes you don't want to play a song or look at lead-sheets, you just want to make your own interesting progression. But how? First, throw all theory out the window! Just four notes; these represent the bass/key movement of the chords. Then, choose four chord types. Combine! Then add a rhythm. If you want to improvise, just stay safe and use the notes of the chord. You'll find really interesting sounds that you wouldn't otherwise ever hear by reading sheet music because they 99% of the time follow diatonic theory rules... so enjoy being free!

Let's Do It, Let's Fall In Love is a very accessible song for jazz beginners. Assuming you have enjoyed part 1/2 which focused on the chords and progression of Section A, herein, I discuss the way a melody is often constructed

Let's Do It, Let's Fall In Love is a very accessible song for jazz beginners. Assuming you have enjoyed part 1/2 which focused on the chords and progression of Section A, herein, I discuss the way a melody is often constructed to highlight notes of interest. We then go through the three steps to improvisation, with many examples for each. And remember: silence is also a note!

Part one looks at the terribly easy and accessible Section A of Let's Do It, Let's Fall In Love, a charming number by the one and only Cole Porter (1928). Herein, I demonstrate how one goes about identifying the chord progression

Part one looks at the terribly easy and accessible Section A of Let's Do It, Let's Fall In Love, a charming number by the one and only Cole Porter (1928). Herein, I demonstrate how one goes about identifying the chord progression as numbers in the master key (Bb here) and how you might transpose that. The melody and improvisation topic will be in Part 2. Lots of chord theory for you to enjoy and apply to other repertoire too!

There are two ambitions I have with this channel: for you to have major scale mastery and know all chord shapes in all keys. I already have a major scale mastery playlist linked below. I also have a chord video in

There are two ambitions I have with this channel: for you to have major scale mastery and know all chord shapes in all keys. I already have a major scale mastery playlist linked below. I also have a chord video in which I show all chords (link below), so that may help before you dive into this one. Either way, I will not stop until you become a major scale and chord master! So come and play along with me...

I do love a blues. Who doesn't? This little educational piece I wrote years ago but thought it was time to update and present it to you in a shorter, better quality video. It purposefully includes common RH techniques and is

I do love a blues. Who doesn't? This little educational piece I wrote years ago but thought it was time to update and present it to you in a shorter, better quality video. It purposefully includes common RH techniques and is open to any LH accompaniment style. I demonstrate three in the video. Near the end, I provide two further RH blues riffs you might like to try, which require some brain power. You'll learn the 12 bar blues structure/feel as you go.

Most chord progressions (80%+) are based on the cycle of fourths. Each new key a fourth up from the previous adds one more flat to the key, until Gb. From Db/C#, however, if you continue in fourths, you will actually start

Most chord progressions (80%+) are based on the cycle of fourths. Each new key a fourth up from the previous adds one more flat to the key, until Gb. From Db/C#, however, if you continue in fourths, you will actually start going backwards round the cycle of 5ths, removing a sharp each time (from C#). You need to get used to fourths, that's my point, and this video will help you do that with various technical exercises.

You don't necessarily stumble because you're not technically good enough. You stumble because you don't know what's coming next! Why does this happen? Because you get too caught up with what you're playing at the very moment and your brain just

You don't necessarily stumble because you're not technically good enough. You stumble because you don't know what's coming next! Why does this happen? Because you get too caught up with what you're playing at the very moment and your brain just forgets to look ahead. These little exercises help you to separate your brain in two which will, eventually, enable you to play without any thinking whatsoever. Consider this the training wheels before riding solo! Good luck..

Students often get frustrated that they can't do technical exercises very well or play repertoire how they would like (and easily could). Often, impatience is behind this and I don't mean impatience over weeks and months but over seconds and minutes!

Students often get frustrated that they can't do technical exercises very well or play repertoire how they would like (and easily could). Often, impatience is behind this and I don't mean impatience over weeks and months but over seconds and minutes! You need to calm down and acquire the virtue of patience. I provide one exercise (with a chord variation at the end) to help you calm your mind and train it to become patient. If this is a frustratingly slow video for you, just 6 minutes of your life, then your piano journey is going to be full of disappointments... primarily due to your inability to be patient.

This is a very useful exercise that you can also do away from the piano for internal piano mastery but when at the piano, it's nice to play up the scale too because you get to hear the note values, which

This is a very useful exercise that you can also do away from the piano for internal piano mastery but when at the piano, it's nice to play up the scale too because you get to hear the note values, which is also very important. Be sure to label the notes as sharps or flats correctly when in a key: for example, G# is the third of E but Ab when the 4th of Db, for example. Have fun!

First I play the first two parts (you can work out the third on your own if you get that far!) and then I give you the one main right then left hand technique behind all of ragtime so I hope

First I play the first two parts (you can work out the third on your own if you get that far!) and then I give you the one main right then left hand technique behind all of ragtime so I hope you'll get those down before watching Part 2 in which I show you how to play what I did in the performance. This is a personalised version and not note for note from a score.

Assuming you've enjoyed and played around on your own what I discussed in part 1 so that you can experience the different feeling part 2 will give you, for which you will remove all restrictions and either play a bunch of

Assuming you've enjoyed and played around on your own what I discussed in part 1 so that you can experience the different feeling part 2 will give you, for which you will remove all restrictions and either play a bunch of random notes and put chords to them (by trial and error!) or find a few chords and put a melody to them. I demonstrate both in this video. The key signature and time signature come naturally, as happened here. An enjoyable exercise indeed!

I propose three methods for composition: theoretical with restrictions and confines / trial and error / inspirational source (away from the piano first). Each of the three videos of this little series will provide some spontaneous examples to demonstrate how each

I propose three methods for composition: theoretical with restrictions and confines / trial and error / inspirational source (away from the piano first). Each of the three videos of this little series will provide some spontaneous examples to demonstrate how each one can be adopted. In this first video, I demonstrate a few bars of a 12 bar blues using only the C blues scale, followed by a 6251 with a cute parallel melody idea but set your own confines in terms of structure, chord types, tempo, rhythm, pool of notes, etc.

Usually, I never encourage learners to cheat their way to knowledge but in this case, I can make an exception. You have to do whatever it takes to memorise and internalise the 4ths because they're behind almost every chord progression and

Usually, I never encourage learners to cheat their way to knowledge but in this case, I can make an exception. You have to do whatever it takes to memorise and internalise the 4ths because they're behind almost every chord progression and help you understand where key signatures come from. This cheat-sheet gives you two 'halves' to learn, the second half being the cycle of 5ths backwards, which continues in fourth intervals! Drill, drill, drill! Once you know it, you know it. Sorry the camera moves a bit - I think my headphone cable was knocking on the tripod. Shall be more careful next time!

There's only so much you can do with the hand on the piano: single notes, two notes (an interval), three or more notes (a chord), octaves and all of these either as a block or individually (think arpeggios and broken chords).

There's only so much you can do with the hand on the piano: single notes, two notes (an interval), three or more notes (a chord), octaves and all of these either as a block or individually (think arpeggios and broken chords). You would do well to do such exercises with at least major and minor triads, using octaves as much as possible and aiming for rapid finger alternation exercises. All these requirements are in real music so I hope you won't neglect them!

You need to spend time on left hand techniques, away from repertoire, since they appear in all repertoire. Use these ideas as you wish, at your own tempos, with your own chord types and in all keys. Make sure you play

You need to spend time on left hand techniques, away from repertoire, since they appear in all repertoire. Use these ideas as you wish, at your own tempos, with your own chord types and in all keys. Make sure you play them in time and try with eyes closed for enhanced precision. The right hand video will come next but for now, use the major scale in the right hand, or improvise, to get some dual-hand practice in.

The 13th and #9 voicings share the same notes because of the tri-tone difference between their owner keys. C13 is Bb, E and A... the same notes as Gb#9... C and Gb are a tritone apart. If you descend chromatically with

The 13th and #9 voicings share the same notes because of the tri-tone difference between their owner keys. C13 is Bb, E and A... the same notes as Gb#9... C and Gb are a tritone apart. If you descend chromatically with the shape which makes these chords, you can cover a 6251 progression. You can also alternate between 1 and 4 in blues. Very important jazz theory you need to practise!

As requested, a quick look at root position and then inversions with some embellishments for the 625144 progression in the key of F. Whatever progression and chord types you are playing, major scale mastery helps you to effortlessly slip from chord

As requested, a quick look at root position and then inversions with some embellishments for the 625144 progression in the key of F. Whatever progression and chord types you are playing, major scale mastery helps you to effortlessly slip from chord to chord. Of course repeat some of the changes to drill the shapes but it's not as time-consuming or difficult as you may think, as long as you combine chord shape knowledge and MAJOR SCALE MASTERY...

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!

Section B is pretty. Why? It uses nice note values. Somewhere Over The Rainbow, like many jazz songs, has the melody line make the chord sound nicer, in this case using 11ths and 9ths.

I'm going to make lots of videos in this style since I know that most people don't care to learn a whole song but highlighting parts or sections of a jazz song I like and explaining why, should be more interesting

I'm going to make lots of videos in this style since I know that most people don't care to learn a whole song but highlighting parts or sections of a jazz song I like and explaining why, should be more interesting and beneficial for you. All My Tomorrows, Section A, is so pretty because the melody highlights 9ths and b9s... and the chord progression is, unsurprisingly, 251 and 36251 in the key of G. Whatever you learn in one video and one song can usually be applied to another so I hope you enjoy them more than regular tutorials. Of course, if you want to learn the whole song, the chords are freely available on jazzstudies.us

Poking chord tones helps to train your mind to see the shape of the chord, within the key of the chord, and helps with seeing inversions very quickly. The second exercise, chord jumping, helps your fingers get used to staying in

Poking chord tones helps to train your mind to see the shape of the chord, within the key of the chord, and helps with seeing inversions very quickly. The second exercise, chord jumping, helps your fingers get used to staying in a particular shape and being able to land instantly on that particular chord type. I encourage you to do these exercises very often using all keys and lots of chord types!

This game is down to your choices. It encourages you to identify chord extensions and to discover which note combinations work to make fancier chords. Good chord enlightenment! Basically, you pick a top note and move up chromatically 2 octaves below,

This game is down to your choices. It encourages you to identify chord extensions and to discover which note combinations work to make fancier chords. Good chord enlightenment! Basically, you pick a top note and move up chromatically 2 octaves below, identifying a chord which works with that top note which will change in value as you move through the keys. I demonstrate with a Bb on top. Have fun!

This topic has always interested me because it is so common yet so easy to fix but for some reason, it is a struggle students have for years! Hand independence isn't really the write term; it's more 'hand togetherness'. It's easy

This topic has always interested me because it is so common yet so easy to fix but for some reason, it is a struggle students have for years! Hand independence isn't really the write term; it's more 'hand togetherness'. It's easy to play one hand alone and then another hand alone, right? I encourage you to do exercises such as those presented in this video, which you are to personalise but do them eyes closed, in different octaves, different keys, etc. but aim for endurance to the point that your mind isn't involved, worrying about which fingers should play, when. LH and RH can do each other's work if necessary. Try them...

Instead of doing an single-song analysis, of which I have many, I thought it would be a nice change to do a podcast episode in which I show many jazz songs and how you would go about studying the lead sheet

Instead of doing an single-song analysis, of which I have many, I thought it would be a nice change to do a podcast episode in which I show many jazz songs and how you would go about studying the lead sheet to identify 251s and the like. I hope you don't mind the length of this video because it's audio with piano background but with the leadsheets on the screen which I recorded. Feel free to listen, however, without looking at the screen. If you'd like more audio videos like this, let me know!

Rather than hand 'independence' problems, let's think about this issue as hand 'coordination' problems, which is really what hand independence has somehow come to mean. The more variety of exercises you do to overcome this element of piano playing, the less

Rather than hand 'independence' problems, let's think about this issue as hand 'coordination' problems, which is really what hand independence has somehow come to mean. The more variety of exercises you do to overcome this element of piano playing, the less it will be a hurdle to you. Herein, I propose three more brain-breaking exercises which also combine precision and major scale mastery (always a plus!)

Need to master your major scales AND some chord types? You'll love this game. Not only can you reinforce the shapes, you can choose any chord type you'd like to work on and play it on each note of the major

Need to master your major scales AND some chord types? You'll love this game. Not only can you reinforce the shapes, you can choose any chord type you'd like to work on and play it on each note of the major scale, ascending and descending! You can play it as a block chord, open, arpeggio, rolling.. you could probably do it in other ways I didn't show in the video. Whatever you do, do this often until you can play most common chord types through every major scale's 7 notes.

Often the left hand gets neglected so here are some melodic solutions. You will find these few techniques in real repertoire so don't see them as pointless exercises! Be sure to do them in different keys and time signatures and by

Often the left hand gets neglected so here are some melodic solutions. You will find these few techniques in real repertoire so don't see them as pointless exercises! Be sure to do them in different keys and time signatures and by using different chords to get used to a variety of positions. Employ the right hand in a simply way, perhaps using a few notes from the major scale or chord type itself. By all means take this further and create little compositions. They will sound pretty advanced!

Knowing note values is important for fancy chords, inversions, improvising, composing, remembering melodies and a few other things. You can play major scale tennis away from or at the piano which is convenient. It's a major scale mastery game (always important!)

Knowing note values is important for fancy chords, inversions, improvising, composing, remembering melodies and a few other things. You can play major scale tennis away from or at the piano which is convenient. It's a major scale mastery game (always important!) in which you need to say the answer within three seconds. Knowing major scales backwards, literally, is key here (pun intended).

All The Things You Are is a great song to learn the most common elements of jazz chord progressions. It's based on a 6251, then up a fourth, then a floating 251 to the 3rd. This repeats a 5th up from

All The Things You Are is a great song to learn the most common elements of jazz chord progressions. It's based on a 6251, then up a fourth, then a floating 251 to the 3rd. This repeats a 5th up from the original key. That's basically it! Master a chord progression before the melody and away from the piano so that you can play it in any key. The melody is easy to find by ear or sheet music but you'll improvise a bit anyway, right? Knowing the chord progression perfectly helps with fluency since most people stumble due to the next chord not being know and not because they're not proficient enough!

Time for an updated video on modal theory and diatonic chords. If you know major scales (which you must!!!), then you inherently know modes because they are simply major scales inverted 6 times (first position is not inverted, of course). Diatonic

Time for an updated video on modal theory and diatonic chords. If you know major scales (which you must!!!), then you inherently know modes because they are simply major scales inverted 6 times (first position is not inverted, of course). Diatonic chord theory is nice to know but you don't 'apply' it, you only apply the results of it but it's nice to know! So I show you. Now that you know major scales, modal theory and can remember the 7 diatonic chords, you're ready to start improvising or composing with much more ease so.... enjoy that!

Not enough piano students compose because it is believed that oodles of knowledge and technique are required. You're not being asked to compete with Liszt and Chopin; just cute little melodies and chords is all we need! In my irrelevant opinion,

Not enough piano students compose because it is believed that oodles of knowledge and technique are required. You're not being asked to compete with Liszt and Chopin; just cute little melodies and chords is all we need! In my irrelevant opinion, too many people play classical music. The Chopin repertoire especially has been played to death for decades and decades with not enough to replace or compliment it. New sounds are required! So do please consider using your new skills to contribute to new piano music! You may surprise yourself with what you create.

Hopefully you've enjoyed and got comfortable with the content of the previous three videos already so that this video isn't too difficult. Herein, I encourage you to 'improvise'. Not in a jazz way but in terms of playing any chord type

Hopefully you've enjoyed and got comfortable with the content of the previous three videos already so that this video isn't too difficult. Herein, I encourage you to 'improvise'. Not in a jazz way but in terms of playing any chord type in any key but with a nice left hand pattern or two that you can use which actually comes from real-world repertoire! You'll be excited to be able to play what you can from this video already after just a few hours of practice from the previous videos and this!

Your major scales are good. You've been playing around with chords. I give you a few more chord ideas herein but then I give the best finger independence exercise known to mankind: the butterfly technique. Do it eyes closed if you

Your major scales are good. You've been playing around with chords. I give you a few more chord ideas herein but then I give the best finger independence exercise known to mankind: the butterfly technique. Do it eyes closed if you can. I can't even do it justice by describing it here so you'll just have to watch to get it!

Moving on from your new major scale mastery and comfort, I now introduce the major and minor triads, along with some ways to play them: as block chords, broken chords or rolling arpeggios. Get used to playing them rhythmically all over

Moving on from your new major scale mastery and comfort, I now introduce the major and minor triads, along with some ways to play them: as block chords, broken chords or rolling arpeggios. Get used to playing them rhythmically all over the keyboard, jumping to a major or minor triad in any key by identifying as quickly as possible the first, third (or lowered third) and fifth of the major scale of the chosen key. The more you do this, the better you'll get! And remember: steady persistence!

For whatever reason, you want to start playing the piano. No matter what music you'd like to play or compose (!), you need to know your major scales and get used to seeing the whole piano as that key. Also, start

For whatever reason, you want to start playing the piano. No matter what music you'd like to play or compose (!), you need to know your major scales and get used to seeing the whole piano as that key. Also, start using your fingers in new combinations immediately. The major scales are a great tool for that due to the variety of back and white notes. This first video of five in this mini-series cover these two extremely important facets of piano playing. Remember, it takes days and weeks, not months and years to get very good at this stuff! Move on to part two once you're comfortable with this part's teachings...

The fact this is a Christmas song doesn't matter. To reharmonise a song, you're often looking for 1 chords (major 7ths) and to arrive at them via 2-5s. In this video, I take the very simple 1 4 5 song Silent

The fact this is a Christmas song doesn't matter. To reharmonise a song, you're often looking for 1 chords (major 7ths) and to arrive at them via 2-5s. In this video, I take the very simple 1 4 5 song Silent Night and play some very fancy chords and enhance the chord progression. I explain every step of the way so you should be able to take away some ideas and apply them to other songs.

There are a LOT of chord types but it's fair to say that you don't need to learn them all immediately in all 12 keys, so I spontaneously decided to go through each key, from C to B, sharing with you

There are a LOT of chord types but it's fair to say that you don't need to learn them all immediately in all 12 keys, so I spontaneously decided to go through each key, from C to B, sharing with you the most common chord types and why they are so. For example, don't worry about m6 in C# or 13th in Gb or Major 7th in B... you'll almost never see these chord types in those keys. Full list below. Whole diminished applies to all 12 keys. You can't avoid them. Explained in the video.

Yet again, another easy 36251-based song. The facts it's a Xmas song doesn't matter: it's the jazz chord progression which appears in 80%+ of jazz realbook repertoire. The melody is so well-known that you can easily work it out by ear so I focus on the chords and some tasty variation you may enjoy... after a performance, of course!

To get by with jazz repertoire, you need to know the 251s instantly in all 12 keys (just because a song is not often in C#, for example, doesn't mean you shouldn't learn its 251 because it still appears in 'floating

To get by with jazz repertoire, you need to know the 251s instantly in all 12 keys (just because a song is not often in C#, for example, doesn't mean you shouldn't learn its 251 because it still appears in 'floating 251's where the root is not the master key! Happens in every song. So follow along with me until you can do them at this speed. Good luck!

As with every new song, I got it onto my internal jukebox since I didn't know it at all so I listened to a few versions and read the lyrics. Once that was done, I found the leadsheet and analysed the

As with every new song, I got it onto my internal jukebox since I didn't know it at all so I listened to a few versions and read the lyrics. Once that was done, I found the leadsheet and analysed the chord progression (which was super predictable!) and found the melody. Then I put it together and made this video! Part 2 ill be Section B in Db.

Some songs I wish I'd written. This is one of them. Such a nice use of the 1 5 1 5 1 5 chord progression using an augmented on that 5... then a half-dim on the 3 and a b7 on

Some songs I wish I'd written. This is one of them. Such a nice use of the 1 5 1 5 1 5 chord progression using an augmented on that 5... then a half-dim on the 3 and a b7 on the 6... then 2 5 1... Very easy indeed! Melody is even easier since it's pairs of two notes. If you don't add this song to your repertoire, I don't think I can help you! :)

Choose any two keys two alternate between, with any chord type (the same or different). Then add another not and chord type, then another. Personalise the whole thing, especially in terms of what chord types. You may do it all as

Choose any two keys two alternate between, with any chord type (the same or different). Then add another not and chord type, then another. Personalise the whole thing, especially in terms of what chord types. You may do it all as major triads, then alternate major and minor. Just do your best to make it as long as possible so you can experience what it means to truly know a chord progression. Of course, try to remember it throughout the day or over night and play it 12 hours later to see if it's still in your mind! If you can memorise random chord progressions thanks to this game, you'll have no trouble remembering very easy chord progressions from repertoire!

Instead of playing anything anywhere with no structure, consider this exercise in which you lay down the left hand accompaniment of your choice and then play one, then two, up to 7 notes of the blues scale but starting from first

Instead of playing anything anywhere with no structure, consider this exercise in which you lay down the left hand accompaniment of your choice and then play one, then two, up to 7 notes of the blues scale but starting from first beat 1, then two, then three, then four. Try this ascending and descending. You will notice improvements to your hand independence. This exercise opens up the ability to play any length of phrase starting on any beat and even any note of the scale. Step by step.

If you don't have much repertoire yet - and don't know too many chords - then let this video be your guide! Choose a chord type (ones you know and those you don't, so you learn them) and play them with

If you don't have much repertoire yet - and don't know too many chords - then let this video be your guide! Choose a chord type (ones you know and those you don't, so you learn them) and play them with both hands as if they're a melody. Melodic chords is a nice replacement to repertoire because it sounds like you're playing a song, even though you're only playing one chord type down chromatically from C to C, passing through all the keys. Enjoy!

Hopefully you have enjoyed part 1 and are ready for this nice easy part 2 section which itself contains two sections. This is all only possible because I have listened to many versions many times and can anticipate what chord should

Hopefully you have enjoyed part 1 and are ready for this nice easy part 2 section which itself contains two sections. This is all only possible because I have listened to many versions many times and can anticipate what chord should be played/what chord comes next. Apply what I'm doing to repertoire you'd like to play and you'll be good!

I'd like to thank everyone for your feedback on content. A common theme was: showing how I learn an personalise non-jazz songs and making them jazzy. This is a song I've always wanted to play so I spent a few hours

I'd like to thank everyone for your feedback on content. A common theme was: showing how I learn an personalise non-jazz songs and making them jazzy. This is a song I've always wanted to play so I spent a few hours listening to a few different versions, provided below. I then identified a melody in the key of Eb, my favourite key, and got used to it in that key, breaking into a few easy to remember sections. In this video, however, I show how I'm working out the chords since I didn't do those before the recording. That's live. Whatever repertoire you want to play, do the same: listen a lot, get the melody shape in your favourite key(s) and work out the chords using a mix of theory, logic and ear. Part 2 will be section 2 of this song; the other memorable part!

Almost every jazz song is based on some variation of the 6251 progression and this song is no exception. I provide the basic version and the nicer chromatic climb version. Two sections, very easy to memorise away from the piano. Easy melody to add on by ear. No need for lead sheets!

Very often, I'll do the stuff in this video for 10-20 mins, or maybe just one of them for 10 minutes. This is why and how I know my chords, scales and have finger flexibility, rapidity and precision. Thought I'd share

Very often, I'll do the stuff in this video for 10-20 mins, or maybe just one of them for 10 minutes. This is why and how I know my chords, scales and have finger flexibility, rapidity and precision. Thought I'd share it with you to encourage you to do the same when you don't want to play repertoire. You can find some of these scattered about in other videos but these are my top noodlings.

It's important to know have mastered the diatonic chords for the major scales. It's one template applied to all 12 keys. In this video, I demonstrate how you can simply move through all 7, in order, while playing any melody using

It's important to know have mastered the diatonic chords for the major scales. It's one template applied to all 12 keys. In this video, I demonstrate how you can simply move through all 7, in order, while playing any melody using the notes of the key you're moving the chords through! Mix styles, tempos and keys until you can do this quite comfortably in all 12 keys. It's very satisfying indeed!

Come on, it's about time you really got good at recognising the most popular chord types in all the keys so that you can take on any music you wish! This chord game encourages you to go through all keys following

Come on, it's about time you really got good at recognising the most popular chord types in all the keys so that you can take on any music you wish! This chord game encourages you to go through all keys following a chord-type pattern which, as you go around chromatically over and over from any starting point, will force you to find and play that chord type in that chord that you happen to be on! Let this video be your push to chord mastery (I have a playlist of chord videos.. so enjoy that too for more ideas!)

Lovely song, easy to learn. I listened to some classic recordings to get the tune into my head (each one with a slightly different melody!) and then found the chords by ear. You can find other chords (but mine work!) on

Lovely song, easy to learn. I listened to some classic recordings to get the tune into my head (each one with a slightly different melody!) and then found the chords by ear. You can find other chords (but mine work!) on jazzstudies.us - the main take-away from this video is that you don't have to have a fixed melody or even timing; play how you want! Everyone knows the song so will recognise it with small modifications... Even Frank Sinatra sand it differently every time...!

Use jazzstudies.us to find the free leadsheet but you shouldn't need it really since if you know the melody, you can easily put the chords under it. I learn this from nothing to full song in 12 mins (quicker in real

Use jazzstudies.us to find the free leadsheet but you shouldn't need it really since if you know the melody, you can easily put the chords under it. I learn this from nothing to full song in 12 mins (quicker in real life, of course). Note how I anticipate the next chord based on the jazz 36251 logic and find the melody by ear. This is why I always say jazz is just one same chord progression and if you don't know a song in your mind, you can't play it at the piano!

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.

No matter your repertoire choices, or even ability, getting comfortable with each finger's stretch to every other finger is very important. It will help you feel a lot more comfortable at the piano, whether it's scales, chords or melodies. The more

No matter your repertoire choices, or even ability, getting comfortable with each finger's stretch to every other finger is very important. It will help you feel a lot more comfortable at the piano, whether it's scales, chords or melodies. The more you keep playing every interval possible, in a variety of octaves, eyes closed, the better you'll become... and it's that simple!

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 share three useful finger independence exercises which also drill major scale mastery and precision. The last one you may have seen before but it's really my favourite one and the most beneficial for all finger combinations. As per the

Herein, I share three useful finger independence exercises which also drill major scale mastery and precision. The last one you may have seen before but it's really my favourite one and the most beneficial for all finger combinations. As per the title, this is an endurance exercise not speed so do it for as long as possible: aching is good, pain is bad. Sit high enough and far back enough. No slouching. Good luck!

I wrote Golden Birds years ago to represent the birds which flock above the parliament building in Budapest and get lit up thanks to the powerful yellowish lights. It's a lovely sight. Herein, I teach the first part because it's a good finger alternation exercise using 1 and 3 then 2 and 4. Hope you enjoy it!

I wrote quite a few compositions before I started this channel so I thought it was a useful name to it as my name and what I was doing! My compositions are available via the link below. I hope in this

I wrote quite a few compositions before I started this channel so I thought it was a useful name to it as my name and what I was doing! My compositions are available via the link below. I hope in this video to show you three ways to compose, as well as the main way I do it. More people need to compose even little songs because there's so much benefit in doing so. It's also a nice break from technical exercises and chord stuff! Feel free to share any results in the comments section!

If you have repertoire, definitely try to embellish the chords this way. If not, you can still play a mix of these chords and get some really tasty sounds! I provide three to get you going: LH = M7 (1356) RH

If you have repertoire, definitely try to embellish the chords this way. If not, you can still play a mix of these chords and get some really tasty sounds! I provide three to get you going: LH = M7 (1356) RH = 9 #11 13 (upper chord structure: major triad on the 9th) / LH = m7 (1 b3 5 b7) RH = 9 11 13 (UCS: minor triad on the 9th) / LH = dominant 7th (1 3 5 b7) RH = whole diminished on 3rd. Move around the circle of fourths to experience how quickly you can play these in any key... and then perhaps find some of your own! I'll do a part 2 with some more soon.

I came up with game ages ago and made a video on it but it's lost in the abyss that is YouTube so I thought I'd do it again for you. The basic idea is to choose how many notes will

I came up with game ages ago and made a video on it but it's lost in the abyss that is YouTube so I thought I'd do it again for you. The basic idea is to choose how many notes will be in your improvisation (10), what chords you'll use (the 2 5 1 in C) an how many notes will go with each chord (4, 4 2). You then choose random notes from the 12 notes of the chromatic scale (F B E C# Ab Bb G D E A) and then place them into the key of the chord they belong to with a note value (m3 6 2 M7 / b9 #9 1 5 / 3 6) and then personalise the results in terms of style, rhythm, etc. Doing these multiple times with the same chords or new chords is great for note value awareness and not getting stuck in improvisation ruts of 'only notes of the chord' or 'only chromatic' or worse: random notes! This adds a filter to the pool of notes. Enjoy!

I found a bunch of chords in my notebook and didn't remember what they were for... then it hit me! Ah yes, I wanted to make a video a few years ago on how you can get into composing (or at

I found a bunch of chords in my notebook and didn't remember what they were for... then it hit me! Ah yes, I wanted to make a video a few years ago on how you can get into composing (or at least have a bit of fun with random chords and melodies) so in this video, I revive that crumpled piece of paper and do another example live, to reinforce the method: 6-10 random notes. Don't think about keys or diatonic stuff. Then give a random chord type to them just for some chord practice. You can use that result as the basis for a composition or improvisation. Then/or, divide the notes into groups of 2 or 3 and find any random chords which contain at least 1 or 2 of the notes of the group. You'll get some very nice sounds as a result! Just have fun, really.\n

I've mentioned these ideas before in other videos but never brought them together in one same place, so here we go. Three of my most favourite chord mastery recognition and playing exercises. All personalisable of course. The first is the ascending

I've mentioned these ideas before in other videos but never brought them together in one same place, so here we go. Three of my most favourite chord mastery recognition and playing exercises. All personalisable of course. The first is the ascending chromatic bounce, the second is a similar idea but within a major scale and lastly, the top note of the chord you chose becomes the key for the next one but it works descending which is always an added challenge for some. Eyes closed, both hands, natural tempo limit as frequently as possible.

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...

Third and perhaps final video (I may do a jazz chord one soon, depending on feedback) in which you are to once and for all learn chords in all keys by playing along with me, slowly. You can't get more straight

Third and perhaps final video (I may do a jazz chord one soon, depending on feedback) in which you are to once and for all learn chords in all keys by playing along with me, slowly. You can't get more straight and to the point than that so I really hope you take advantage of these three videos and work through them to mastery and fluency in your own time.

Following on from Part 1, I provide you with the next 4 most important chords to know in all 12 keys: 6th, m6, whole diminished and half-diminished. You'll master the templates, see the tiny differences (one finger) between them and then,

Following on from Part 1, I provide you with the next 4 most important chords to know in all 12 keys: 6th, m6, whole diminished and half-diminished. You'll master the templates, see the tiny differences (one finger) between them and then, hopefully with eyes closed, follow along with me through all the keys, playing each chord twice per second. Part three will provide a few extra chords! You'll be a chord master in all the keys before you know it!

My hope is that you'll acquire a few skills herein: learn the four primary chord types, play them with both hands, be able to go through them in all twelve keys and finally, do all that without following along with me! It may take a few tries but do try! This series contains three videos.

Just some little ideas and demonstrations to encourage you to play octaves and become confident with feeling this very important interval. There are three ways to play an octave and 4 applications, all of which I demonstrate. I encourage you to

Just some little ideas and demonstrations to encourage you to play octaves and become confident with feeling this very important interval. There are three ways to play an octave and 4 applications, all of which I demonstrate. I encourage you to personalise them, do them with your eyes closed as often as possible and don't rush! Find your natural limit and use light wrists - no tension!

Often, exercises are in keys or with chord types and never with only the black notes so let's change that! It's nothing earth-shattering but just a nudge to encourage you to develop a precision with the black notes in terms of

Often, exercises are in keys or with chord types and never with only the black notes so let's change that! It's nothing earth-shattering but just a nudge to encourage you to develop a precision with the black notes in terms of jumping finger pairs, melodic improvisation and octaves. I think you'll enjoy personalising these ideas by adding rhythm, dynamics and your own tempo targets!

This is the third and final part of the reuploads of a far too long video from 2019 that you may never have seen but with the sound enhanced and the length, originally 31 minutes, cut down to three videos of

This is the third and final part of the reuploads of a far too long video from 2019 that you may never have seen but with the sound enhanced and the length, originally 31 minutes, cut down to three videos of around 10 mins each. I propose 5 ideas at and away from the piano for you to do for just 60 seconds each! The idea is that you do them a few times a day and will see the benefits very quickly. By all means personalise them as well or do them for two minutes or even make a whole long practice session out of them but at least do them for 60 seconds each! That's not too much to ask... is it?

This is part 2 of a reupload of a far too long video from 2019 but with the sound enhanced and the length, originally 31 minutes, cut down to three videos of around 10 mins each. I propose 5 ideas at

This is part 2 of a reupload of a far too long video from 2019 but with the sound enhanced and the length, originally 31 minutes, cut down to three videos of around 10 mins each. I propose 5 ideas at and away from the piano for you to do for just 60 seconds each! The idea is that you do them a few times a day and will see the benefits very quickly. By all means personalise them as well or do them for two minutes or even make a whole long practice session out of them but at least do them for 60 seconds each! That's not too much to ask... is it?

This is part 1 of a reupload of a far too long video from 2019 that you may never have seen but with the sound enhanced and the length, originally 31 minutes, cut down to three videos of around 10 mins

This is part 1 of a reupload of a far too long video from 2019 that you may never have seen but with the sound enhanced and the length, originally 31 minutes, cut down to three videos of around 10 mins each. I propose 5 ideas at and away from the piano for you to do for just 60 seconds each! The idea is that you do them a few times a day and will see the benefits very quickly. By all means personalise them as well or do them for two minutes or even make a whole long practice session out of them but at least do them for 60 seconds each! That's not too much to ask... is it?

Concluding my little composition series looking at some different feels and techniques, we explore portraying the swing feel with the left hand and its chords, as well as the right hand and its melody, since both portray rhythm! I provide some

Concluding my little composition series looking at some different feels and techniques, we explore portraying the swing feel with the left hand and its chords, as well as the right hand and its melody, since both portray rhythm! I provide some technique ideas for both hands along with some technical exercises as they arise naturally. Hopefully you have or will enjoy the other three parts and be able to apply it all to your own pieces.

Taking my little melody and chords composition, let's apply a Bossa Nova rhythm to it. All rhythms are portrayed by the fingers on the keys; the melody or chords don't impact the rhythm at all. Herein, I provide a left hand

Taking my little melody and chords composition, let's apply a Bossa Nova rhythm to it. All rhythms are portrayed by the fingers on the keys; the melody or chords don't impact the rhythm at all. Herein, I provide a left hand idea using octaves and a pinky-bounce to lay down the feel. Master also how to play the melody alone with the bossa nova feel. Listen to a lot of this rhythm to internalise it. Some links are below.

Using the melody and chord progression I presented in part 1, link provided, I give one left hand pop piano pattern and two (plus a bonus) right hand things - one is to play the melody on top of the right

Using the melody and chord progression I presented in part 1, link provided, I give one left hand pop piano pattern and two (plus a bonus) right hand things - one is to play the melody on top of the right hand chord and another is the jam both hands playing chord only. The main point behind any rhythm is the feeling portrayed via the fingers, not so much how to play the notes... so let this be the first lesson to demonstrate this important point!

Composing your own melody is fun and useful. You then put your own chords to it and would do well to apply different rhythms. If you can't yet do that, then I offer my own melody and chords for you to

Composing your own melody is fun and useful. You then put your own chords to it and would do well to apply different rhythms. If you can't yet do that, then I offer my own melody and chords for you to easily learn. It's only five bars and hopefully a few new chords for you. In each next video of the series, I'll play this same melody/chords in a different style: jazz, blues, bossa, pop, etc. and hope to share the techniques and traits of each. See you on the journey!

I'm always thinking of new ways for you to learn chord types in different keys since they're so important to playing anything, of any genre, on the piano. This idea starts with taking randomly 4 notes then, with progression of difficulty,

I'm always thinking of new ways for you to learn chord types in different keys since they're so important to playing anything, of any genre, on the piano. This idea starts with taking randomly 4 notes then, with progression of difficulty, choosing chord types to play based on them. The second half is choosing chords which contain the note but not as the root note. You get some really sweet sounds as I did with C9, Dm11, FmM7 and Gaug, just from playing G!

It's hard, I get it. Herein, learn the process of achieving total hand coordination in boogie-woogie. First, get the LH down so well that you can talk to someone or watch something while it's happening. This is removing all conscious interference.

It's hard, I get it. Herein, learn the process of achieving total hand coordination in boogie-woogie. First, get the LH down so well that you can talk to someone or watch something while it's happening. This is removing all conscious interference. Then, play one note or chord on only beat. Stay in one key first. Then add two. Then three. Try different LH patterns. Eventually, once you've mastered each stage, bit by bit, you'll be amazed how easily you can do it. Then you'll be ready to play the nicer riffs from video 2 and 3.

I'm always pushing chords and have a specific playlist for chords because they're so important; from basic triads to complex jazz extensions. I really encourage you to work through that playlist, link below, to become super familiar with chord type templates

I'm always pushing chords and have a specific playlist for chords because they're so important; from basic triads to complex jazz extensions. I really encourage you to work through that playlist, link below, to become super familiar with chord type templates and how to play them comfortably in both hands in any key! This little idea is a step-by-step process in which you start with one, then two, then three then ANY chord types and move up chromatically. You could of course go around the cycle of fourths or play random notes but I don't go into that in this video.

I just want you to get really, really good at the piano. This involves efforts from you to know a good number of chord types AND how to play them in all keys. It's a mix of instant recognition, major scale

I just want you to get really, really good at the piano. This involves efforts from you to know a good number of chord types AND how to play them in all keys. It's a mix of instant recognition, major scale mastery and precision. These two exercises will go a long way to helping you with that whilst giving you a nice left hand, right hand and hand independence work-out! \n

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!

I like these two exercises because you get chord type, finger independence, major scale and coordination practice, all in one! The first one is great as a stylistic trait and the second is great for landing confidently on a chord type. Both give left little fingers a work-out, too!

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 spent a few hours looking at loads of boogie-woogie and blues videos, as well as some classic records to identify common traits of this style and settled upon 5. You are to personalise them and try them with your

I spent a few hours looking at loads of boogie-woogie and blues videos, as well as some classic records to identify common traits of this style and settled upon 5. You are to personalise them and try them with your own natural fingering and sense of rhythm. Use the different left hand patterns from video 1 to see how they must be changed a bit to fit. Perhaps then create your own 12 bar blues to add to the one you learnt from part 2...

Technical exercises serve more than the purpose of being able to 'do' the exercise; they help with precision, touch, orientation and many other things. In this video, I highlight in particular finger and hand independence by encouraging you to be able

Technical exercises serve more than the purpose of being able to 'do' the exercise; they help with precision, touch, orientation and many other things. In this video, I highlight in particular finger and hand independence by encouraging you to be able to do the exercises with opposite hands too, thus a different bunch of fingers! The LH doesn't only play chords and the RH doesn't only play melodies, you know! I think you'll enjoy these, especially if you try them out with eyes closed! Only focusing on major scales and triads. Nothing too scary I hope.

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 in no way suggesting that you must or want to 'play like me'. When I hear or read this sentence, what is meant, what is implied, is: how can I acquire your precision, dexterity and fluency? Well for many

This is in no way suggesting that you must or want to 'play like me'. When I hear or read this sentence, what is meant, what is implied, is: how can I acquire your precision, dexterity and fluency? Well for many years, I did these exercises quite often and still do them a few times a week. Often, people forget that playing the piano well isn't about theory and repertoire, it's about actually making your fingers actually do what you want them to do! These exercises will help and should be done eyes closed at your own natural limit... very often!

This video is more like a podcast but I do touch the piano sometimes, as well as demonstrate my physical finger stretches. The content of this episode is on encouraging you and showing you how to use your four internals: piano,

This video is more like a podcast but I do touch the piano sometimes, as well as demonstrate my physical finger stretches. The content of this episode is on encouraging you and showing you how to use your four internals: piano, jukebox, manuscript and metronome. If you can't do stuff in your mind, you have NO HOPE of being able to do it at the piano so please let this be a bit of a wisdom bomb with the genuine intention of wanting you to start making extraordinary progress once and for all... away from, then at, the piano.

Hopefully you've already enjoyed Part 1 and got the melody internalised. If so, get used to dissecting the chords in the way presented in this video... the try to put everything together! I provide some useful progression section ideas to drill them (even try them in different keys because it's the number progression not lettered progress which is important).

With the piece firmly on your internal jukebox, get the melody down. Often with jazz, you'll not need sheetmusic, just find the melody by ear at your instrument. Orientate yourself in the key of F for this and be sure

With the piece firmly on your internal jukebox, get the melody down. Often with jazz, you'll not need sheetmusic, just find the melody by ear at your instrument. Orientate yourself in the key of F for this and be sure you can see it all on your internal piano before moving onto the next video which gives you the chords!

Natural fingering all the way! Thanks to a request, I provide an idea where you play the major triad (use any chords you want, though) and, in all twelve keys of course, you'll move the 3rd and then the 5th up

Natural fingering all the way! Thanks to a request, I provide an idea where you play the major triad (use any chords you want, though) and, in all twelve keys of course, you'll move the 3rd and then the 5th up and down various whole/half steps to get used to the idea that chords can be 'alive'. Then, I propose a quick staccato exercise combining a chord and a chromatic run. Your fingers will be very warm after this! And remember: aching good, pain bad!\n

Technical exercises don't need to be done exactly as you find them. Herein, I chose three at random (and added one at the end spontaneously) and demonstrated how you might personalise them. Playing the piano is not only about repertoire; you

Technical exercises don't need to be done exactly as you find them. Herein, I chose three at random (and added one at the end spontaneously) and demonstrated how you might personalise them. Playing the piano is not only about repertoire; you need to spend time on personalised and relevant technical exercises to get more finger-on-keys time, otherwise your abilities will stagnate with the same music you keep playing... and who wants that?

Twenty years ago, I worked in a music shop. A guy came in and said he wrote for Celine Dion. He showed me his technique which I present to you in this video. I never did find his name in any

Twenty years ago, I worked in a music shop. A guy came in and said he wrote for Celine Dion. He showed me his technique which I present to you in this video. I never did find his name in any book or online so maybe he was lying but still, his method is a nice technical exercise and sounds nice so here you go! Enjoy it in various keys and make some lovely sounds!

Knowing the 251s instantly is very, very helpful when it comes to memorising jazz songs especially. Herein, I propose you learn them but add a few more layers: rhythm, LH/RH techniques, little melodies, etc. However, start with one hand getting the

Knowing the 251s instantly is very, very helpful when it comes to memorising jazz songs especially. Herein, I propose you learn them but add a few more layers: rhythm, LH/RH techniques, little melodies, etc. However, start with one hand getting the 251 down in the key and then see how fluently you can move to the next, to the next, ... Once comfortable, bring in the other hand and go from there. A little every day is highly recommended.

Don't worry, this isn't my last video; it's just a thought experiment: if I had to leave you with one important thing to work on above all else, what would it be? Major scale mastery with key orientation. It's not a

Don't worry, this isn't my last video; it's just a thought experiment: if I had to leave you with one important thing to work on above all else, what would it be? Major scale mastery with key orientation. It's not a memory test, it's an instant visualisation ability at and away from the piano (with eyes closed at the piano as much as possible).

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.

Using the pedal can often cause problems. I always used to say "lift it up when it gets muddy", which is true but I wanted to give two more specific methods to help you with not sounding muddy! One is highlighting

Using the pedal can often cause problems. I always used to say "lift it up when it gets muddy", which is true but I wanted to give two more specific methods to help you with not sounding muddy! One is highlighting beats 1 and 3 and the other is getting you used to lifting the pedal and pressing it just before a new chord when you're not counting strictly 1 2 3 4.

This video contains the most popular technical exercise I encourage people to master and can be found in my Water Pianism Syllabus. Even if you're not interested in that (link below to WP Overview Document), you'll still find these very

This video contains the most popular technical exercise I encourage people to master and can be found in my Water Pianism Syllabus. Even if you're not interested in that (link below to WP Overview Document), you'll still find these very beneficial and useful, no matter your level and path. Be sure to remember to do them: eyes closed, sitting in front of the same note each time, with no energy puddles at the joints and at, then pushing, your natural tempo limit.

Behind every song are 90% diatonic chords. You need to be very familiar with these to help you tackle new repertoire, of any genre. Herein, we only discuss triads but I have a video on the 4-note chord version linked below.

Behind every song are 90% diatonic chords. You need to be very familiar with these to help you tackle new repertoire, of any genre. Herein, we only discuss triads but I have a video on the 4-note chord version linked below. At least become familiar with C, F, G, Eb, Bb (and E, for a lot of pop music). Remember the triad template which applies to all 12 keys: major, minor, minor, major, major, minor, diminished (m b5), choose a key, get familiar, then start mixing them up. You'll be amazed how good it sounds once you get fluent. Enjoy!

I hope you will enjoy Part 1/2 which includes the first seven songs from the original Mary Poppins film. It got longer than expected so I cut down on the duration of each song. Part 2 will be linked when

I hope you will enjoy Part 1/2 which includes the first seven songs from the original Mary Poppins film. It got longer than expected so I cut down on the duration of each song. Part 2 will be linked when it's uploaded. I will also do a quick tutorial video for each part for those interested in the chords. These are played spontaneously so there is no sheetmusic. In the tutorials, I'll show you how to play them the way YOU want to play them instead of following someone else's arrangement. Enjoy!

There are a LOT of chords to learn in all 12 keys and that can obviously be overwhelming. This video gives you 2-3 of the most common chord types in each key... but understand: not the SAME chord types always

There are a LOT of chords to learn in all 12 keys and that can obviously be overwhelming. This video gives you 2-3 of the most common chord types in each key... but understand: not the SAME chord types always but the particular types which exist due to the key they're in. For example, you'll rarely play BM7 but Bm7... D6 is not so common but Dm7 is VERY common. So spend some time mastering these common chord types in their favourite keys and then add what you need, when you need or want it!

I already knew this song from hearing it in a French film many years ago (Hors de Prix) so when I heard it in Money Heist recently, I was pleasantly surprised by the totally different style and was instantly inspired to

I already knew this song from hearing it in a French film many years ago (Hors de Prix) so when I heard it in Money Heist recently, I was pleasantly surprised by the totally different style and was instantly inspired to learn it by ear (not too hard, it was clearly a 36251 progression-based piece with a lovely tritone substitution-floating 251 to the 4th) and make a video on it! I spent a while listening to the original and MH versions to get differences and chord choices, found the melody and then recorded this video. I hope you enjoy something a little different to my channel!

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.

You really need to know the song you want to learn on your internal jukebox before you even think about going to the piano to learn it. In this video, I apply that fact and learn, by ear, I Can't Get

You really need to know the song you want to learn on your internal jukebox before you even think about going to the piano to learn it. In this video, I apply that fact and learn, by ear, I Can't Get Started (With You). A lovely song which follows all the trademark jazz theory: 6251, moving in 4ths, a floating 251 (onto the second in this instance)... It's a quick demo to highlight what is expected of you too when you want to learn your own jazzy repertoire. Knowing the lyrics really helps with structure too. Now that I know it, I won't forget it because the progression is so standard. If you want an Improvisation lesson on it, I'll do one if enough ask

Sometimes, well, quite often, it's required of you to play a chord 'under' the melody note. This little video gives you a technical exercise, with a few variations, on strengthening your right-most right hand fingers to get used to playing melodies

Sometimes, well, quite often, it's required of you to play a chord 'under' the melody note. This little video gives you a technical exercise, with a few variations, on strengthening your right-most right hand fingers to get used to playing melodies while the thumb and index maintain the major or minor interval part of the chord. Starts as a technical exercise, then discusses some inversion poking stuff and applying the technique to actual repertoire.

Just an innocent idea, plus a trip down memory lane for me: I play the first four songs I ever learnt 20+ years ago and you ask any questions about how I play them (or how to play them specifically).

Just an innocent idea, plus a trip down memory lane for me: I play the first four songs I ever learnt 20+ years ago and you ask any questions about how I play them (or how to play them specifically). It may be about a chord or technique or something to expand upon. If not, perhaps just enjoy!

Lovely song. Nice common chord progression. Easy to master. You can learn the melody in your own time but I mention it sometimes. Primary emphasis is on the chord progression. I also offer some nicer chords without getting too complicated. Make sure it's on your internal jukebox before you attempt it!

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.

I really want to help you play all the pieces you want when it comes to jazz. A common problem is that when you look at a lead sheet, it's just a bunch of chords and, if you're lucky, the single-note

I really want to help you play all the pieces you want when it comes to jazz. A common problem is that when you look at a lead sheet, it's just a bunch of chords and, if you're lucky, the single-note melody line. That's fine, you'll improvise and mess around with that anyway but the main thing is getting those chords down! Herein, using All the Things You Are, I show, via on-screen lead sheet image, how most songs are based on 6251, up a fourth and some kind of 5-1 or 2-5-1 onto a temporary (floating) root, which is not the master key but a note from its own major scale (in this case, onto the 3rd). I end with a few performance ideas but nothing too overwhelming. Hopefully you'll share your repertoire ambitions so we can discuss them in the comments!

Sometimes, you need a little video with one simple exercise to add to your arsenal: this is it. Just choose a chord type and whatever the top note is, come down that key's major triad and play the same chord type from this new key. I give three chord demos. Both hands together, eyes close, staccato always best!

Obviously you'll practise this technique at the piano but once you've got the feel, you can drill it away from the piano as you walk, tapping on your legs or table, etc. First, get the technique down in straight time

Obviously you'll practise this technique at the piano but once you've got the feel, you can drill it away from the piano as you walk, tapping on your legs or table, etc. First, get the technique down in straight time using both hands. Then introduce the RH rhythm and slowly add it to the LH. Apply it to a chord when ready... then repertoire once you've really got it down. Three demo songs provided.

It's great if you know lots of technical exercises but too often overlooked is the need for endurance; to play them for longer, not for speed but to get those fingers working and those tendons warming up and flexible. It need

It's great if you know lots of technical exercises but too often overlooked is the need for endurance; to play them for longer, not for speed but to get those fingers working and those tendons warming up and flexible. It need not be all the time but maybe 10% of your practice time should be on endurance. Herein, I give the most basic example but you can personalise it if you want.

I'm doing all I can to help you play nice jazz chords and learn jazz repertoire, amongst other topics but really, the jazz theory don't mean a thing if it ain't got that swing so this video is another attempt, influenced

I'm doing all I can to help you play nice jazz chords and learn jazz repertoire, amongst other topics but really, the jazz theory don't mean a thing if it ain't got that swing so this video is another attempt, influenced by hand independence and co-ordination exercises, to help you feel the swing by actually playing it. It's just two chords, nothing complicated, note by note, playing beat 1 and 'and' just before beat 3. You should feel a great pleasure at being able to play this all the way through. It won't take as long as you think!

This new playlist will contain videos which help you jazz up pop music or otherwise non-swing music (could be classical, too). Its videos will contain rhythmic, technical, theoretical, chord and improvisation content. Rather than showing you how to jazz

This new playlist will contain videos which help you jazz up pop music or otherwise non-swing music (could be classical, too). Its videos will contain rhythmic, technical, theoretical, chord and improvisation content. Rather than showing you how to jazz up every song used (which would require me to teach the song first, which is something you could do yourself), I'll simply take parts of a song and jazz them up, with the intention that you take bits and pieces from different videos and apply them to you own repertoire. Video one, of course, is on rhythm because no matter what else you get down, if it don't swing, it ain't jazz!

By all means play classical/scored music strictly adhering to the printed page. I propose, as a kind of technical exercise and self-discovery experiment, to see how you play the piece without the music! Use your ear to find the melody

By all means play classical/scored music strictly adhering to the printed page. I propose, as a kind of technical exercise and self-discovery experiment, to see how you play the piece without the music! Use your ear to find the melody and perhaps chords, referring to the sheet music if you need to to confirm a few things, then throw it out the window and play it how you want! In this video, I demonstrate two Liszt pieces and one Chopin piece but play them different ways, as you might!

I thought it would be quite nice for you to know some of my go-to shapes for chords in keys based on finger memory; chords I hit mindlessly. Of course I have a few more in each key but this is

I thought it would be quite nice for you to know some of my go-to shapes for chords in keys based on finger memory; chords I hit mindlessly. Of course I have a few more in each key but this is a good start to get you going. I simply show my favourite (or most useful/common) chord voicing for each key. I encourage you to practise these and try them in other keys, see what you like, etc. Have fun with them and hopefully add them to your repertoire.

This is such a beneficial game: spontaneity, internal piano, chords, melodies, personalisation galore! Choose how many notes your melody will have (improvisation or composition) - I did 8. Then choose random numbers between 1-7 (representing the major scale).

This is such a beneficial game: spontaneity, internal piano, chords, melodies, personalisation galore! Choose how many notes your melody will have (improvisation or composition) - I did 8. Then choose random numbers between 1-7 (representing the major scale). Then choose a key (I chose F) and write the actual letters of the previous note values in the key of F. Play that melody orientated in F and dissect it into 2-4 note melodic sections. Then apply diatonic chords. Then see how it all sounds! How do you play it? Why did you choose that key? Why these notes? Why these chords? Exactly. No answer. They came from your inspirational source. This is how you start improvisation and composing. Have fun and share results if you would like! The more you do, the more you discover about how you play, what chords you like and what notes work with which chords. It's literally endless.

Hopefully you've watched part 1 and got the melody and chords down. Herein, I propose to start with 1 note improvisation per chord, moving up to to 5 notes, then making your own melodies using these smaller blocks. Consider the regular

Hopefully you've watched part 1 and got the melody and chords down. Herein, I propose to start with 1 note improvisation per chord, moving up to to 5 notes, then making your own melodies using these smaller blocks. Consider the regular pool of notes: chord tones, notes of interest (9, 13, b5, etc) and chromatic connections but always come back to Playing You! These are just a few ideas to get you going. Experiment and never play the same thing twice.

Isn't She Lovely is a standard 16251 up a fourth jazz-based chord progression... it just happens to have a funkier rhythm and more modern-sounding melody. It's therefore very easy to learn to play! After a quick performance, I take

Isn't She Lovely is a standard 16251 up a fourth jazz-based chord progression... it just happens to have a funkier rhythm and more modern-sounding melody. It's therefore very easy to learn to play! After a quick performance, I take you through how I find (live) the melody and chords, recognising them from my internal jukebox version of the original (as most of us have it on there). To save getting too long, I propose to give the jazz embellishments, fancy chords and improvisation ideas in part 2... so get this song down in preparation for then! There is also an emphasis on you playing the song how You want to! So expect some personalisation tips in this and the next part.

Following many requests and comments, as part of my variety in content, I hereby introduce the first of I don't know how many videos to help you 'Play You'. This first video encourages you to just choose a chord type

Following many requests and comments, as part of my variety in content, I hereby introduce the first of I don't know how many videos to help you 'Play You'. This first video encourages you to just choose a chord type and play it chromatically in your own way, feeling and 'listening within' to how your fingers want to play naturally. You need to listen to the music you want to play to pick up things performers do that You like. Too much reliance is given to arrangements, which is good to a point but it's never YOU playing it...Enjoy this growing playlist which will focus on jazz improvisation, classical repertoire, technical exercises and composition... all with one main emphasis: helping you to Play You! (Sometimes I need to talk a bit to get an idea across, so if you don't have 30-90 seconds of patience to learn something useful for free, then perhaps go and watch Lang Lang instead!)

I have always enjoyed doing technical exercises. Sometimes, you just need to give the repertoire and theory a break and just go all in, like Liszt did when young and get those fingers working up a sweat! Herein are my favourites.

I have always enjoyed doing technical exercises. Sometimes, you just need to give the repertoire and theory a break and just go all in, like Liszt did when young and get those fingers working up a sweat! Herein are my favourites. I encourage you to do the stretches first to be warm, then mix and match these ideas throughout your practice time. Don't be lazy! Repertoire doesn't teach technique; it expects you to already have it! Aim for endurance and precision so: eyes closed, never legato. This video exists because these exercises were originally in different videos so I've brought them together for you.

There are quite a number of tutorials on how to play note-for-note this piece, along with scores of arrangements you can buy and learn note for note. That's great so learn Time like that if you so wish! I am

There are quite a number of tutorials on how to play note-for-note this piece, along with scores of arrangements you can buy and learn note for note. That's great so learn Time like that if you so wish! I am offering an alternative approach: get the chord progression and feel/pulse down in the key of G, add the various (3) melodic ideas and simply play them how you want, where you want! Nobody will punish you for that. It's about playing You and not always relying on cheating methods like Synthesia or how other people tell you you should play it. Perhaps mix and match? Take some ideas from a score, from Synthesia and then from my ramblings!

You will do this exercise eyes closed, as often as possible. Use different chord types and go through all keys chromatically. You choose a chord type, choose which hand goes first, then the other hand follows in a mirror-like fashion in

You will do this exercise eyes closed, as often as possible. Use different chord types and go through all keys chromatically. You choose a chord type, choose which hand goes first, then the other hand follows in a mirror-like fashion in the other direction. It makes sense when you watch. Can be taken higher with different chord types, octaves in one hand and moving into other octaves on the keyboard. Staccato mainly but legato with pedal is a nice touch.

What I discuss in this video can be applied to any jazz repertoire so I hope you'll enjoy it even if you don't wish to learn this song. I progressively give ideas on improvisation as I go through the chords

What I discuss in this video can be applied to any jazz repertoire so I hope you'll enjoy it even if you don't wish to learn this song. I progressively give ideas on improvisation as I go through the chords of Section A of this song, from major scale notes, grace notes and passing tones, to notes of the chords and notes of interest (9, 13, etc). Discover how you play You when you try to make pretty melodies from the notes available; don't just copy Dan playing Dan!

As I say in the video, I don't just learn these songs in 5 minutes. It takes time to listen to it a lot (internal jukebox) from different performers, have a look at the lyrics, orientate the melody to the master

As I say in the video, I don't just learn these songs in 5 minutes. It takes time to listen to it a lot (internal jukebox) from different performers, have a look at the lyrics, orientate the melody to the master key, drill it on my internal piano, dissect the lead-sheet into logical chunks/blocks of chord progressions, master it away from the piano, listen again and play the chords in my mind... and only then go to the piano to get them into my fingers with the melody. It's a process that I have to follow as much as you do so please don't be overwhelmed. I try to make these tutorials as easy and as clear as possible so that you can apply the content to any jazz repertoire you want to play!

Emily is an underplayed, beautiful jazz song made most famous perhaps by Bill Evans but many recordings exist (see below). As always with these miniseries, we get the melody down so we can deal with the chords (in part 2)

Emily is an underplayed, beautiful jazz song made most famous perhaps by Bill Evans but many recordings exist (see below). As always with these miniseries, we get the melody down so we can deal with the chords (in part 2) while knowing that we know the song and its structure already (and perhaps the lyrics). Music provided on-screen so no timestamps needed. See you in part 2 once you've mastered the melody on your internal piano...

Many ask me abut fancy chords. Here is my response in video format. Basically, there are 7 triads (major, minor, dim, augment, sus4, sus2, m+5 (it works)) which you apply to the 6, b7, 7, b9, 9, #9, 11,

Many ask me abut fancy chords. Here is my response in video format. Basically, there are 7 triads (major, minor, dim, augment, sus4, sus2, m+5 (it works)) which you apply to the 6, b7, 7, b9, 9, #9, 11, #11, b13 and 13 and, depending on the chord type you're playing, will make it sound much better or absolutely awful. Instead of me telling you all the answers, go and explore them and make a note of the template of the ones you like; then enjoy applying them to 251 progressions or your favourite repertoire! Please share your discoveries in a comment with others so they can try too :)

Knowing diatonic chords has many benefits. Major scale mastery in paramount. Improvising and discovering how you play is very revelatory. So why not put them all together in this nice little personalisable idea?

Enjoy the timestamps for this video and come back to your favourite parts when you wish. It's full of ideas, hence the length yet is not overwhelming really. It's basically my thought processes and some ideas of how to play the

Enjoy the timestamps for this video and come back to your favourite parts when you wish. It's full of ideas, hence the length yet is not overwhelming really. It's basically my thought processes and some ideas of how to play the chords and melody you already know. It's mainly about techniques for chords, using all the piano and adding some decoration, along with some philosophies like not playing the melody or not playing chords, only the other. I think you'll enjoy it! And it can be applied to any jazz repertoire, of course.

This video is not overwhelmingly long. Enjoy the subtitles to help you jump to chords that may interest you. The first half is the regular chords and structure and the second half is going through those same chords but enhancing them, that's all!

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.

It's always nice to start a song in a more interesting way than just playing the opening note, especially the Great American Songbook repertoire so this video gives a load of examples for intros and outros, including a bluesy idea, semitone

It's always nice to start a song in a more interesting way than just playing the opening note, especially the Great American Songbook repertoire so this video gives a load of examples for intros and outros, including a bluesy idea, semitone drops and chromatic movements, not to mention notes of interest and special chord types. The idea is to personalise them, so have fun!

Now you know the melody from part 1 and the chords from part 2 and have listened to lots of versions so it's very clearly on your internal jukebox, now is the time to start personalising the song. I propose a

Now you know the melody from part 1 and the chords from part 2 and have listened to lots of versions so it's very clearly on your internal jukebox, now is the time to start personalising the song. I propose a few left hand ideas and right hand ideas, along with a simple melody enhancement idea. Nothing too overwhelming yet. Part 4 will include intros and outros and focus on improvisation philosophies. All parts apply to any jazz repertoire so you don't need to want to only play this piece!

Having got the melody down from part 1, or mastered the melody of whatever piece you're working on, move on to the chords. You need to master jazz repertoire in blocks: 6152... up a 4th... floating 251 (explained within), etc.

Having got the melody down from part 1, or mastered the melody of whatever piece you're working on, move on to the chords. You need to master jazz repertoire in blocks: 6152... up a 4th... floating 251 (explained within), etc. This way, you don't need to remember 15 or more chords but just 3-5 'blocks' of chords which are always the same! Fly Me to the Moon is absolutely no stranger to this law!

Nothing too overwhelming; just get the melody down and play around with it. Play it with the left hand. Play it as octaves. Try it in a different key. Understand that this tutorial applies to all jazz repertoire so you'll

Nothing too overwhelming; just get the melody down and play around with it. Play it with the left hand. Play it as octaves. Try it in a different key. Understand that this tutorial applies to all jazz repertoire so you'll find it beneficial even if you don't want to learn this piece. Move onto part 2 when you have absolutely got the melody down so you don't get distracted when mastering the chords to come. Part 3 will be melody and chord embellishment with a bit of improv. I'll do more parts based on needs and feedback!

Two little ideas which will help you with octaves and chord inversions and chromatic rapidity combined with chord naming in different keys. I'm always pushing you to learn new chord types, especially in new keys, as well as getting comfortable playing octaves so I hope this proves useful.\n

You need to know 251s. You need to know your major scales. This challenge will make sure you get both down! Play the 2 5 starting from C, Dm7 and G7, then when you land on the 1, play

You need to know 251s. You need to know your major scales. This challenge will make sure you get both down! Play the 2 5 starting from C, Dm7 and G7, then when you land on the 1, play it as a minor so that it becomes the next 2 of whatever that is in the pattern; Bb in this case, so play Bb's 2 5, giving the Cm7 you landed on, F7, then Bb will be minor, to be the 2nd of Ab... etc. Second option is the same thing but with complex chords. Enjoy!

It's all in the octave jump precision and applies to any chord, up or down, either hand. I break down getting the chord shape down first in both hands, ascending and descending, then playing it with that octave jump. I give many examples of chord types in different keys to constantly reinforce this octave jump precision.

Precision on the black notes is important. Herein, find three ideas to become a black note master. Eyes closed recommended. First is getting familiar with playing all inversions of the block of 5 black notes, followed by doing them

Precision on the black notes is important. Herein, find three ideas to become a black note master. Eyes closed recommended. First is getting familiar with playing all inversions of the block of 5 black notes, followed by doing them in octave patterns. Then, literally, play anything as open chords! You'll be amazed how great you sound. Record it and see!

There's this thing going around which convinces you that you need to remember chord inversions. You don't. Once you know the basic chord structure (1357 and alterations thereof), combined with major scale mastery, you can find the notes needed immediately,

There's this thing going around which convinces you that you need to remember chord inversions. You don't. Once you know the basic chord structure (1357 and alterations thereof), combined with major scale mastery, you can find the notes needed immediately, without ever having played that particular chord type in that key and inversion ever before. I propose a poking exercise to help, along with some major scale tennis!

You've watched part 1 and 2 and are ready for part 3 in which you will take your left hand on a chromatic walk from time to time and your right hand will play block chords and drop a semitone on

You've watched part 1 and 2 and are ready for part 3 in which you will take your left hand on a chromatic walk from time to time and your right hand will play block chords and drop a semitone on the outer octaves. Now we're really sounding like an ol' rag! I'll do more Ragtime videos so 3 isn't the final one.\n

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!

It's a good idea to practise the feeling of the 12 bar blues and that requires a lot of listening. I propose a nice version where you play the 4 chord on the second beat and then end with a

It's a good idea to practise the feeling of the 12 bar blues and that requires a lot of listening. I propose a nice version where you play the 4 chord on the second beat and then end with a 6251. I explain this. As for the melody, it's based on a note which is not the root and this is the main take-away from this video: stop doing licks based on the root of the key of the chord! Oh, and it's not a tutorial - the lesson is to realise how easy it is to do this yourself instead of copying me!

Although these exercises can be done eyes-open, I have devised them for eyes-closed purposes only in this video. You will benefit greatly in terms of precision and comfort, not to mention some major scale reinforcement and chord type practice, as well

Although these exercises can be done eyes-open, I have devised them for eyes-closed purposes only in this video. You will benefit greatly in terms of precision and comfort, not to mention some major scale reinforcement and chord type practice, as well as octave precision. Do not worry about speed or correct fingering; the main point here is to see where your hands are and what notes your fingers are playing 'in your mind'! Anything to strengthen your internal piano is essential.

You need to know your chords so instead of playing them in a boring dry way, why not take a known melody (I demonstrate 3) and play the melody as the chord you've chosen? It forces you to know the melody

You need to know your chords so instead of playing them in a boring dry way, why not take a known melody (I demonstrate 3) and play the melody as the chord you've chosen? It forces you to know the melody very well and find the chord type in the key that the melody happens to pass through. Very good for hand independence and eyes-closed practice. Any chord, any melody! Try also to play the same chord in both hands for an added challenge.

Just a light-hearted attempt at helping you drill the jazz chord progression found in almost every Great American Songbook piece by having you write your own! Cole Porter's music very often follows this progression so, minus the lyrical and melodic genius

Just a light-hearted attempt at helping you drill the jazz chord progression found in almost every Great American Songbook piece by having you write your own! Cole Porter's music very often follows this progression so, minus the lyrical and melodic genius of him, let's just throw something together to help you internalise once and for all this important progression! Share your results too, if you like!

Practormance and exertoire both come from my Water Pianism philosophy. They come from a need to use a performance as a practice opportunity and an exercise as a (mini) repertoire (performance) opportunity. This was the best way to combine

Practormance and exertoire both come from my Water Pianism philosophy. They come from a need to use a performance as a practice opportunity and an exercise as a (mini) repertoire (performance) opportunity. This was the best way to combine both meanings. In this short video, which could have been over an hour long due to the examples, encourages you to consider what you can already play and to use that as a foundation to practise some technical or rhythmic idea you can't yet do, as well as taking technical exercises you may be doing and making them more melodically interesting!

I'm always trying to encourage you to master major scales in the least boring way possible. Here is a good one which allows you to still have the freedom of playing how you want: pick a note value, start from

I'm always trying to encourage you to master major scales in the least boring way possible. Here is a good one which allows you to still have the freedom of playing how you want: pick a note value, start from C (you're going to go round all keys via the cycle of 4ths) - then make a little melody using notes from the major scale but start and end on the chosen melody. Each melody will be different in each key. No need to add chords in the beginning, I suppose but it's nice to do so. Various options demonstrated herein. Above all: play you!

It may seem simply but that's the trap: it isn't! Mastering all finger feelings over all intervals is the foundation to piano music. Everything ever written, every technical exercise, every improvisation requires comfort in intervals, yet many students just neglect this

It may seem simply but that's the trap: it isn't! Mastering all finger feelings over all intervals is the foundation to piano music. Everything ever written, every technical exercise, every improvisation requires comfort in intervals, yet many students just neglect this and run to repertoire or irrelevant-to-their-path or too difficult technical exercises, all things which would be made a thousand times easier if more time was spent, eyes closed of course, on simply becoming super familiar with each finger/interval combination. Ten minutes a day is all I ask of you. Do you have it?

You can do a lot with the chromatic scale! Focus on precision, endurance and rapidity and your fingers will thank you. Eyes closed, good position, warmed-up fingers... and you're good to go!

Playing the piano is all about fingers-on-notes and intervals so any exercise which gives you more practice to refine your precision, comfort and touch is a good exercise... like this one! Finger the major scales using 1-5 fingers, which forces you

Playing the piano is all about fingers-on-notes and intervals so any exercise which gives you more practice to refine your precision, comfort and touch is a good exercise... like this one! Finger the major scales using 1-5 fingers, which forces you to jump a bit, as you'll see. You can also do this with chord types, as demo'd. Consider variations: same fingering around all the keys or in one key, all the finger variations possible. Find your natural limit, close your eyes and you're good to go!

Eyes closed, this is a great idea. Let your fingers naturally play all major scales but in any order (within the key) that you want, in-octave and multiple octaves. Then try it with chords. Choose your own rhythm and tempo.

Eyes closed, this is a great idea. Let your fingers naturally play all major scales but in any order (within the key) that you want, in-octave and multiple octaves. Then try it with chords. Choose your own rhythm and tempo. Then add passing tones to the main skeleton of the major scale or chord; this is drifting into improvisation which is fun even if you're not into jazz. Then, play any notes, anywhere! And don't stop!

This is a great technical exercise to do because there's so much variation available, along with the inherent development in finger independence and precision you acquire. I recommend doing this many times a week for as long as possible, eyes

This is a great technical exercise to do because there's so much variation available, along with the inherent development in finger independence and precision you acquire. I recommend doing this many times a week for as long as possible, eyes closed. You will create new connections in your brain and experience new feelings of finger combinations that will have a hugely beneficial impact on your playing and comfort at the piano in general. Playing multiple fingers on one same note is great but using it in chords and scales reinforces other things, too (those very chords and scales!)

Video 1 in the new Short & to the Point Playlist, as requested. Looking at the augmented triad and playing it in different ways as we go around the cycle of fourths. Why? This is the perfect chord for 'going up a fourth' which is a very, very common movement in chord progression theory.

Simple game. People like games. Using the major scale or chromatic, choose a note then a chord type to play when you land on that note then play it how you want! Block chords, rapid arpeggios, bouncing around, octaves...

Simple game. People like games. Using the major scale or chromatic, choose a note then a chord type to play when you land on that note then play it how you want! Block chords, rapid arpeggios, bouncing around, octaves... rhythmically... lots of ideas. Just be sure to use keys and chord types you're less familiar with for progress. Also, attempt this away from the piano on your internal piano. So many benefits in such a simple game. Certainly worthwhile to do when you have nothing else to play.

Polyrhythms are hard. You may well be able to individually do what each hand is required to do but bringing them together, at speed, without thinking and eyes closed, is another story. Really do come at these ideas with

Polyrhythms are hard. You may well be able to individually do what each hand is required to do but bringing them together, at speed, without thinking and eyes closed, is another story. Really do come at these ideas with a determined attitude. You will succeed quicker than you may expect. The trick is actually to do them quickly from the outset because just being able to do them slowly doesn't mean anything for doing them quickly. Slow is conscious interference, quick is not so it's good to jump to that on this occasion. It's a nice feeling when you can do them and watch it happen.

Playing the piano is 100% about intervals and your accuracy in playing them... so why not get used to playing spontaneous intervals in random keys while varying dynamics and tempo? That's what this short video demonstrates. I hope to

Playing the piano is 100% about intervals and your accuracy in playing them... so why not get used to playing spontaneous intervals in random keys while varying dynamics and tempo? That's what this short video demonstrates. I hope to make more short videos like this - many a week - so if you enjoy this kind of content, let me know and I'll really aim for daily content for both our benefits. At the end, I propose to do the same with chord types.

Left hand plays 379 or 736, right hand plays the major scale with a b7. That's it. Alternate between two keys moving around the cycle of fourths to drill the shapes and play with the major scale and its

Left hand plays 379 or 736, right hand plays the major scale with a b7. That's it. Alternate between two keys moving around the cycle of fourths to drill the shapes and play with the major scale and its b7 as you progress. Great for key mastery, new shape experience and developing your jazz swing feel. When ready, add passing tones and make an effort to acknowledge which note values you're playing as you improvise within each key.

People like me playing stuff so I thought I'd do so with the intention of letting you learn something too instead of just watching. The chords are quite complex, the techniques quite advanced but I'd like you to take this

People like me playing stuff so I thought I'd do so with the intention of letting you learn something too instead of just watching. The chords are quite complex, the techniques quite advanced but I'd like you to take this opportunity to pose questions about theory or technique with the intention that I make a video in response to them. If you'd like more videos like this, then let me know! Chords are available on my Instagram page as a photo, if curious... but I do name them as the video plays.

It doesn't matter what jazz piece you're trying to improvise over - it's all the same chords basically. This song, as you know from part 2/3, is just a 16251 with a floating 251 to the 4. Herein, I demonstrate

It doesn't matter what jazz piece you're trying to improvise over - it's all the same chords basically. This song, as you know from part 2/3, is just a 16251 with a floating 251 to the 4. Herein, I demonstrate how to focus on the right hand by playing notes of the chord, adding passing tones and notes of interest for a very jazzy flavour. Watch your hands. See what happens naturally within this framework. Introduce the left hand using a simple bass octave and take it further if you can.

The main take-away from this video is to master the sound and feeling of the 16251 progression and the floating 251 onto the 4th... simply by playing them yourself and listening a lot. This piece is a very easy one

The main take-away from this video is to master the sound and feeling of the 16251 progression and the floating 251 onto the 4th... simply by playing them yourself and listening a lot. This piece is a very easy one to learn. The progression ends up being 16251 twice, followed by a 251 onto the 4... then 2 as major and then minor, 5 1. Nothing too serious! Part 3 will be improvisation ideas.

In part 1, follow me as I simply apply my internal jukebox to finding a melody thanks to many listens of this very nice jazz tune. It's very easy for beginners too, not just because of the melody but the

In part 1, follow me as I simply apply my internal jukebox to finding a melody thanks to many listens of this very nice jazz tune. It's very easy for beginners too, not just because of the melody but the chords! In part 2, you'll see how the song is based on the infamous 6251 progression so is very easy to learn and personalise. Whatever you want to learn, remember: mind (internal jukebox), body (natural fingering), piano (theory). Part 2: https://youtu.be/YGU0eQBAktQ

Nothing overwhelming, just an idea to get your fingers moving at the piano and playing with rhythm and precision. Also, helping to learn new chord types in lesser used (by you) keys. Full of demos for: walking bass, stride,

Nothing overwhelming, just an idea to get your fingers moving at the piano and playing with rhythm and precision. Also, helping to learn new chord types in lesser used (by you) keys. Full of demos for: walking bass, stride, arpeggios, block chord bounce, etc. Be sure to play with eyes closed as often as possible and always use natural fingering.

Here we go again! It's a simple process: get the piece on your internal jukebox (know it perfectly in your mind), then analyse the score for theory holes, then start mastering a few bars and drilling them on your internal

Here we go again! It's a simple process: get the piece on your internal jukebox (know it perfectly in your mind), then analyse the score for theory holes, then start mastering a few bars and drilling them on your internal piano. When ready, every 4-6 bars, go to the piano, WITHOUT the sheetmusic (aim to burn it all in the end!!!) and play it surprisingly well, refining as you go with each repetition. This is part 2 of perhaps 4/5 videos as I progress through this piece. Apply it to any repertoire if you don't want to learn this particular piece. Enjoy!

Having watched part 1 so you understand what the scale is and can understand where the two chord types come from, herein is an exercise (two but they're similar) which will help you, eyes closed for natural fingering, to play the

Having watched part 1 so you understand what the scale is and can understand where the two chord types come from, herein is an exercise (two but they're similar) which will help you, eyes closed for natural fingering, to play the chords very fluently. Start with the first two, then add the third, then play with those, add the fourth, play with those, etc. until you can jump around all 8 positions, understanding you're playing a diminished or 6th inversion (or root), without hesitation of getting lost. I propose getting C, F, G, Bb and Eb down first to develop the exercise and ability to do this quickly. Very enjoyable!

This is not so much a tutorial for the piece as it is a demonstration of my process and progress, in almost real-time, of mastering a piece away from the piano and then, for the first time, playing it in the

This is not so much a tutorial for the piece as it is a demonstration of my process and progress, in almost real-time, of mastering a piece away from the piano and then, for the first time, playing it in the video I post, so you can see how I find my natural fingering and dynamics without being influenced by pieces of paper staring at me. It's a simple process: get the piece on your internal jukebox (know it perfectly in your mind), then analyse the score for theory holes, then start mastering a few bars and drilling them on your internal piano. When ready, every 4-6 bars, go to the piano, WITHOUT the sheetmusic (aim to burn it all in the end!!!) and play it surprisingly well, refining as you go with each repetition. This is part 1 of perhaps 4/5 videos as I progress through this piece. Apply it to any repertoire if you don't want to learn this particular piece. Enjoy!

It was said of Franz Liszt's frighteningly powerful and astounding technique that despite it, he never made you feel that he was showing off or trying to 'play fast'. Practising fast can be a bit of fun but it's also

It was said of Franz Liszt's frighteningly powerful and astounding technique that despite it, he never made you feel that he was showing off or trying to 'play fast'. Practising fast can be a bit of fun but it's also useful when you want to enhance precision, endurance and finger independence. Of course, you will master these exercises slowly first, making sure to physically warm up before doing them and being sure to sit correctly (as discussed). Playing fast comes from slow mastery and playing super fast is just a confirmation to you that you have developed the required abilities for more complex repertoire. It does not mean, at all, that you will 'play fast' all your repertoire or show off. Proceed with caution! (Sorry about mic sounds).

I wanted to make this in two parts so that you can get the theory down before getting into technical exercises to actually practise it. It's not as complicated as it seems, this Barry Harris diminished 6 scale. There's two

I wanted to make this in two parts so that you can get the theory down before getting into technical exercises to actually practise it. It's not as complicated as it seems, this Barry Harris diminished 6 scale. There's two chords, the 6th and a whole diminished. You then play then in inversions. The symmetry provided by the extra note, the b6, is beautiful. Homework from this video is the experiment in new keys to play the major scale plus a b6, then play the 6th in root, first, second and third inversion and then the whole diminished in its 4 positions based on the 2nd of the major scale. It will all make sense!

Dynamic control is challenging. Herein, using the major scales as a foundation, play 2, then 3, then 4, then 5 notes of the major scales as lightly then as loudly as possible, feeling the extremes. Then, identify the middle ground.

Dynamic control is challenging. Herein, using the major scales as a foundation, play 2, then 3, then 4, then 5 notes of the major scales as lightly then as loudly as possible, feeling the extremes. Then, identify the middle ground. Then highlight only one loud note. Personalise the exercise whilst reinforcing major scale and chord (if you wish) shapes! Liebestraum performance at the end to demo the dynamic point! Sorry for slight swaying - will be fixed with a new tripod ASAP!

Using Fly Me to the Moon, I propose to choose any chord containing the melody note (of any melody you wish, of course, whether you know its original chords or not) and master that random progression. Don't worry about theory,

Using Fly Me to the Moon, I propose to choose any chord containing the melody note (of any melody you wish, of course, whether you know its original chords or not) and master that random progression. Don't worry about theory, note values or anything, just choose a chord containing that note. Herein, I make a chord last two notes. Benefits progression memorisation, new chord discovery and major scale mastery, along with a performance technique and a right hand melody enhancer tactic. Enjoy!

Final (?) video in this little playlist giving you yet another left hand pattern to get into your bones while the RH only worries about 1234(5) of the major scale. Reduce conscious interference, close your eyes and do your best

Final (?) video in this little playlist giving you yet another left hand pattern to get into your bones while the RH only worries about 1234(5) of the major scale. Reduce conscious interference, close your eyes and do your best to get as fluent as possible with all the video content. You will benefit greatly in many ways, not only for repertoire preparation. Enjoy!

Sometimes you just want to play something. In this second of three (probably) videos, get a nice left hand accompaniment with a very common technique: 1 5 8ve 3. Then, add just the first four then five notes of

Sometimes you just want to play something. In this second of three (probably) videos, get a nice left hand accompaniment with a very common technique: 1 5 8ve 3. Then, add just the first four then five notes of the major scale as a melody. Towards the end, once fluent, try to alter dynamics and tempo. Nothing too complex but it sounds very melodic. Also, try to get used to using the pedal correctly, lifting it just once on beat 1 each time. Natural fingering and natural speed limit applies!

Sometimes you just want to play something. In this first of three (probably) videos, get a nice left hand accompaniment with a simple two chord position to share between hands. Then, add just the first five notes of the

Sometimes you just want to play something. In this first of three (probably) videos, get a nice left hand accompaniment with a simple two chord position to share between hands. Then, add just the first five notes of the major scale as a melody. Nothing too complex but it sounds very melodic. Also, try to get used to using the pedal correctly, lifting it just once. Natural fingering and natural speed limit applies!

A nice game in which you, step by step, play certain chord types down the chromatic scale not worrying about chord progressions. Use both hands, find a rhythm and let your inspirational source throw chord types at you to play spontaneously.

I just wanted to try to remember an old song but share the process with you. Once in on your internal jukebox, you can identify the melody in any key numerically or by finding its pattern through the major scale

I just wanted to try to remember an old song but share the process with you. Once in on your internal jukebox, you can identify the melody in any key numerically or by finding its pattern through the major scale (this one is very easy) and then the chords which are usually quite predictable (these ones are also very easy!) Just get used to drilling this 6251 up a fourth malarkey and you'll be fine!

Perhaps my most important video. I wrote an article and created a PDF for you to help get everyone on the same page, to get real about what you truly know and what you can truly do, no excuses.

Perhaps my most important video. I wrote an article and created a PDF for you to help get everyone on the same page, to get real about what you truly know and what you can truly do, no excuses. Everything is contained in this video and the PDF. So for a while, stop you repertoire building and stop messing around with random technical exercise books and have some self-analysis time. Feel free to share and print the simple, two-page doc as much as you wish. Feedback to inspire others greatly encouraged. Main points: major scale mastery, chord types, weak fingers, the most important technical exercise and some common chord progressions. As always, eyes closed, find your natural limit, don't compare with others and Play You!

It's very important to keep practising chord memorisation so this game really challenges this skill. Simply, you pick a major scale and then for each note of it, find a chord which contains that note (but it doesn't have to

It's very important to keep practising chord memorisation so this game really challenges this skill. Simply, you pick a major scale and then for each note of it, find a chord which contains that note (but it doesn't have to be diatonic). When you've got them, try to memorise them away from the piano until you can play the progression fluently... then alter how you play it in terms of time signature, rhythm, tempo. Maybe use them to improvise over, try them in another key, etc. Personalisation is key! Difficult but doable.

If you can memorise random chord progressions with a bit of practice, you can memorise the regular chord progressions very easily which appear in most repertoire! It goes like this: pick how many chords in your progression; pick that many

If you can memorise random chord progressions with a bit of practice, you can memorise the regular chord progressions very easily which appear in most repertoire! It goes like this: pick how many chords in your progression; pick that many random notes from the chromatic scale; place them into the key of C to acquire their note values in that key; use that chord progression in other keys. All this takes place away from the piano on your internal piano. If you want, add a chord type to each chord. Again, away from the piano. When ready, go to the piano and play it without thinking about letters or numbers, just 'sway' from one chord to the next without no conscious interference. Use the chords as a foundation for technical exercises if you wish!

A few minutes a day on this exercise will literally rewire your brain to stop thinking about LH/RH and honestly, magically, help you overcome co-ordination problems. Herein, I demonstrate what can be done with any chord type in any key

A few minutes a day on this exercise will literally rewire your brain to stop thinking about LH/RH and honestly, magically, help you overcome co-ordination problems. Herein, I demonstrate what can be done with any chord type in any key but the main idea is to be able to do with both hands each exercise to the same degree of comfort. Close your eyes, stop thinking, find your natural limit and it WILL suddenly happen. This is called 'becoming a spectator to your hands'.

Even if you can improvise quite well, this could still be useful. The idea is that you take two notes, one from each chord (of a two-chord progression) and find as many ways to play from one to the other

Even if you can improvise quite well, this could still be useful. The idea is that you take two notes, one from each chord (of a two-chord progression) and find as many ways to play from one to the other as possible. Here, I start with using only the note, then adding semitones nearby, then notes of the chord, etc. Just expand out and see what happens naturally. Identifying your natural improvisation style, even with elements of strict theory, is very important!

When I was about 6, I learnt this song for fun, not really touching a piano again for almost a decade. It came to me that the left hand accompaniment can be used as a great background to so many

When I was about 6, I learnt this song for fun, not really touching a piano again for almost a decade. It came to me that the left hand accompaniment can be used as a great background to so many right hand benefits: major scales, improvising, chord types, inversions, endurance, precision... so here is the result! It doesn't need timestamps since I just throw out many examples quite quickly.

You don't have to want to learn this particular song to benefit from this video. The 6251 progress is the foundation of jazz and with it, so many songs become instantly accessible. This is in the key of G but

You don't have to want to learn this particular song to benefit from this video. The 6251 progress is the foundation of jazz and with it, so many songs become instantly accessible. This is in the key of G but by all means try to get used to it in C, F, Eb and Bb. There is a floating 251 onto the 4th, C (also very common in jazz), and a 3, minor, 251... not you can't do with a little repetition!

As requested, a lovely melody. I discuss how I listened lots to get it onto my internal jukebox, found the melody and recognised shapes. Dissect the melody into bite-sized bits. I don't in here but by all means reinforce

As requested, a lovely melody. I discuss how I listened lots to get it onto my internal jukebox, found the melody and recognised shapes. Dissect the melody into bite-sized bits. I don't in here but by all means reinforce the melody on your internal jukebox and try it in different keys (at and away from the piano) to further drill the note values of it. You'll be glad you did! Part 2 will discuss chords.

Keep those fingers moving! This is a wholly eyes-closed approach to refining intervals but not only moving chromatically and 'cheating' but only moving forward when you can truly see the same interval in the next key.

I love doing these. You should too. They have so many benefits. Aside from doing it, be sure to close your eyes, find your natural limits and use different keys. Sit high enough and far back enough to avoid

I love doing these. You should too. They have so many benefits. Aside from doing it, be sure to close your eyes, find your natural limits and use different keys. Sit high enough and far back enough to avoid 'energy puddles' at your joints (discussed herein) and warm up your tendons first since this is quite an endurance exercise too.

Above all the theory and technical exercise videos I make, the most important philosophy is the removal of conscious interference. This can mean: don't apply too much theory and get caught up in it, as well as being able to do

Above all the theory and technical exercise videos I make, the most important philosophy is the removal of conscious interference. This can mean: don't apply too much theory and get caught up in it, as well as being able to do said exercises without thinking, without looking; just becoming an observer. No amount of ability has truly been acquired if you're doing it via excessive thought. These two ideas are to help free your thinking mind and come to a state of 'watch what happens'.

You're allowed to use the pedal in this one and go for a legato touch. The idea is to create pretty sounds using both hands to play certain chords. It's not as easy as it looks and so is very recommended

You're allowed to use the pedal in this one and go for a legato touch. The idea is to create pretty sounds using both hands to play certain chords. It's not as easy as it looks and so is very recommended to add to your technical exercise repertoire. The second is more about moving individual fingers while the others stay pressed on the chord, which can be made particularly harder when alternating two!

The basic truth is, no matter what theory you know and what licks you acquire and can play in 12 keys, if you don't play You, you're not playing the piano, you're regurgitating. Herein, I demonstrate quickly the simply procedure

The basic truth is, no matter what theory you know and what licks you acquire and can play in 12 keys, if you don't play You, you're not playing the piano, you're regurgitating. Herein, I demonstrate quickly the simply procedure of: pick a chord progress (make it up), pick a chord type (try to use new ones) then just IMPROVISE over it for a long as possible, applying some theory as you wish but starting mainly with: notes of the chord, notes of interest and chromatic connections. The most important thing is to discover how You play jazz, not how a book tells you.

I wanted to get you familiar with modes a bit before diving into the song since it doesn't matter what the song is when improvising because the logic is the same: play notes of the chord, throw in some modal spice

I wanted to get you familiar with modes a bit before diving into the song since it doesn't matter what the song is when improvising because the logic is the same: play notes of the chord, throw in some modal spice and a bit of chromaticism and aim for notes of interest (9, 11, 13, etc). So first half is modes relating to the key of the piece (G) then some demos of how to let yourself choose an approach and see what your fingers do, over the 1 6 2 5 2 5 progression.

I love this. You should, too. You get major scale reinforcement, chord type verification, finger workout, precision, eyes-closed practice, shape discovery and a good brain workout. What's not to like? Oh, it's for both hands, too!

Part 1 was for the melody. This is the chords. You don't need to want to learn this song; it's about the process you would do well to adopt when acquiring any repertoire: master the progression bit by bit,

Part 1 was for the melody. This is the chords. You don't need to want to learn this song; it's about the process you would do well to adopt when acquiring any repertoire: master the progression bit by bit, play it in different keys and reinforce it away from the piano. When ready, blend in the melody and start to solidify.

Once a piece is on your internal jukebox, you can use it while finding the melody. The key doesn't matter; just find the melody somewhere and go for it! Then, identify its note values in the master key and

Once a piece is on your internal jukebox, you can use it while finding the melody. The key doesn't matter; just find the melody somewhere and go for it! Then, identify its note values in the master key and play it in other keys too, to reinforce. I do that here. Part 2 will be on the chords and Part 3, personalisation and improvisation.

I fear people give up too quickly and/or don't believe they can achieve a certain level of fluency or dexterity. Well, there are those who think they can and those who think they can't - and they're both correct.

I fear people give up too quickly and/or don't believe they can achieve a certain level of fluency or dexterity. Well, there are those who think they can and those who think they can't - and they're both correct. Herein, try the two exercises no repeat until you experience the feeling of suddenly watching what your fingers are doing rather than 'doing your fingers'. Once you've cracked it, you'll play better forever. Also, please listen. Learning involves listening not only watching.

I never knew ten years ago that I'd still be here, or that I'd start composing and have a YouTube channel with 110,000 subscribers but I knew in some way I'd be helping people because life is about service. I'm

I never knew ten years ago that I'd still be here, or that I'd start composing and have a YouTube channel with 110,000 subscribers but I knew in some way I'd be helping people because life is about service. I'm glad that my content impacts quite a lot of people at and away from the piano so thank you for being part of my own destinationless journey. Here's to the next ten years!

I take you through my confirmation of the melody, the chords and share some ways you might perform it, including my own natural reactions to playing it spontaneously. My intention is that you'll follow a similar path when mastering your own jazz repertoire by watching part 1 then this.

I wanted to go from not being able to play a song, to knowing it at least in melody and chord form before in part 2 refining it and personalising it. Follow me in this longer than usual video on

I wanted to go from not being able to play a song, to knowing it at least in melody and chord form before in part 2 refining it and personalising it. Follow me in this longer than usual video on how I acquired the song by ear only. Enjoy the timestamps provided for easier navigation and don't be overwhelmed; two sections are 90% the same, just the end of Section B differs slightly but not by much!

You can play stride. You can play walking bass. But what about just accompanying octaves? It works. It sounds good. Consider mastering this content using regular 6251 progressions, chords to your own repertoire or simply the cycle of fourths. And remember, it don't mean a thing if it ain't got that ssswing!

I have a few videos on improvisation (listed below) but this is more about blending the main ideas of improvising into a 'constant stream' which helps with fluency, the ability to change between keys and chords and forces you to become

I have a few videos on improvisation (listed below) but this is more about blending the main ideas of improvising into a 'constant stream' which helps with fluency, the ability to change between keys and chords and forces you to become a spectator to what your fingers want to do; in other words, you will be improvising less from theory and more from spontaneity, using a safe framework.

A common stylistic trait is to play a triad with an octave and move that octave around without moving the central two notes (major or minor third and perfect or flattened fifth). Herein, I demonstrate what that looks like and how to introduce a left hand accompaniment.

Upper chord structures is the term used when you apply a 3 or 4-note chord any notes of the chord the left hand is playing to get some fancy extensions and nice jazzy sounds. Herein, I propose the m7 on the 3rd, a whole diminished on the b9 and a major triad on the 9th.

A nice connection I became conscious of whereby the 251-up a fourth logic, if you make the 4th the new 2 (of the next 251), results in playing the notes of each diminished group. It's a good exercise, with personalisation

A nice connection I became conscious of whereby the 251-up a fourth logic, if you make the 4th the new 2 (of the next 251), results in playing the notes of each diminished group. It's a good exercise, with personalisation encouraged (and demonstrated), to reinforce the diminished groups and the 251s which are behind pretty much every song you'll ever play!

Shapespearean actors don't come out on stage and suddenly speak their lines and act without practising and honing. They have spent months and years memorising lines, learning how to control their facial expressions and body movements. They've learnt how to speak

Shapespearean actors don't come out on stage and suddenly speak their lines and act without practising and honing. They have spent months and years memorising lines, learning how to control their facial expressions and body movements. They've learnt how to speak unhurriedly and clearly, without hesitation. A lot of 'behind the scenes' work has gone on, no matter the role. Same for piano: spend time mastering techniques applicable to any repertoire and you'll be well on your way to being an excellent performer!

All christmas songs can and should be seen as 'jazz songs' despite their common theme. Herein, I wanted to share my journey through this song and how and why I chose certain chord varieties. It is very recommended to find you own chords but be sure you know the song very well on your internal jukebox first.

All christmas songs can and should be seen as 'jazz songs' despite their common theme. Herein, I wanted to share my journey through this song and how and why I chose certain chord varieties. It is very recommended to find you own chords but be sure you know the song very well on your internal jukebox first.

Some of my most popular videos are exercises which don't only challenge your fingers but your brain too! This video does just that. As always, mix and match, personalise and try to keep your eyes closed as often as possible. Aim

Some of my most popular videos are exercises which don't only challenge your fingers but your brain too! This video does just that. As always, mix and match, personalise and try to keep your eyes closed as often as possible. Aim for endurance over speed. Use all major scales for their reinforcement too and come to experience what it means to 'become an observer'.

Arpeggios are a nice improvisational 'device'; they can connect parts of a melody, fill in dead space or be themselves used as a kind of flourish here and there, not to mention being a melodic phrase themselves, so it's nice to

Arpeggios are a nice improvisational 'device'; they can connect parts of a melody, fill in dead space or be themselves used as a kind of flourish here and there, not to mention being a melodic phrase themselves, so it's nice to get used to using them. Herein, I offer one pattern to learn which also includes the left hand in three different ways.

You have the piece on your internal jukebox, you've dissected the chord progression, now all you need to do is reinforce it and convince yourself you know it so you can play around with the tune as you please. This

You have the piece on your internal jukebox, you've dissected the chord progression, now all you need to do is reinforce it and convince yourself you know it so you can play around with the tune as you please. This little game helps you do that: say the next chord when you are playing the current chord without losing flow. Master the numerical chord progression away from the piano then come to the piano and test it out in different keys. Herein, I play a few popular songs in one other key (for the first time) to demonstrate the point.

Ragtime is surprisingly one of my most searched keywords yet I only made a tutorial for it 5 years ago and then a tutorial about 2 years ago focusing on the right hand doing stride to help separate hands and overcome

Ragtime is surprisingly one of my most searched keywords yet I only made a tutorial for it 5 years ago and then a tutorial about 2 years ago focusing on the right hand doing stride to help separate hands and overcome the syncopation issue. Herein, it's all about the RH and the absolute pattern that Ragtime uses. Melodies are based on this pattern so let's get it down!

I started 21 years ago and the first song here, Black and White Rag, was the first thing I remember being able to play. I was able to get the left hand down quite easily but it did take a

I started 21 years ago and the first song here, Black and White Rag, was the first thing I remember being able to play. I was able to get the left hand down quite easily but it did take a few days to get the right hand syncopated. I then play Maple Leaf Rag with a gentle swing which is actually how Joplin used to it play; not straight as many people think!

Playing staccato is very good for tendon strengthening, finger independence and precision. Legato is nice for expressiveness. Using the pedal with stacatto saves you from sounding too muddy if you play legato with the pedal. Herein, I propose

Playing staccato is very good for tendon strengthening, finger independence and precision. Legato is nice for expressiveness. Using the pedal with stacatto saves you from sounding too muddy if you play legato with the pedal. Herein, I propose to master this important touch control by playing chords you know, and don't yet know, through all 12 keys for variety. Consider closing your eyes, using both hands to roll the chord from one hand to the next

The intro to this infamous jazz tune is not so often played. I listened to many versions online and msot go straight to the famous Section A. This was requested and I'm glad about it. It enabled me to

The intro to this infamous jazz tune is not so often played. I listened to many versions online and msot go straight to the famous Section A. This was requested and I'm glad about it. It enabled me to spend a good deal of time getting quite complex about nice jazz chords and how to fill out an otherwise quite ordinary progression. I discuss floating 251s and chord extensions

Herein, learn how to play fancy jazz chords over this infamous Lisztian melody whilst also embellishing the melody. Then, take some tips on improvising completely over the chords. You are of course encouraged to apply part 1 skills (use

Herein, learn how to play fancy jazz chords over this infamous Lisztian melody whilst also embellishing the melody. Then, take some tips on improvising completely over the chords. You are of course encouraged to apply part 1 skills (use various keys) and part 2 content (left hand accompaniment ideas) in combination with this final part. It's a longer video but enjoy the timestamps to help guide you through the examples. I've aimed to make it as un-overwhelming as possible

A lot of repertoire, especially Debussy (!) requires rolling arpeggios. The most commong problem is that the spacing between the notes isn't perfect enough so they sound sloppy. Herein, I provide a step-by-step process to help refine rolling arpeggios, at any tempo, and of course promote as always personalisation with the exercises

The thumb is often neglected in technical exercises, or thrown in as just another finger. Shame. The more you do thumb-only work, the more balanced your hand will become as a whole; you'll feel your other fingers become steadier

The thumb is often neglected in technical exercises, or thrown in as just another finger. Shame. The more you do thumb-only work, the more balanced your hand will become as a whole; you'll feel your other fingers become steadier and your touch should improve. During these exercises, don't rush: aim for a consistent dynamics and tempo, watch your wrists be lose and observe how the other fingers will eventually settle and behave themselves

Finding your natural limit is important and encouraging: find the tempo at which you can comfortably do the exercises through many repetitions then increase BPM by 10. Rinse, lather repeat until you can do it fast and fluently enough not to need the metronome

For this requested piece, I perform it then highlight how one might master the chord progression and rhythm. I then discuss bringing in the melody and enhancing it to fill in space. The chords are shown in the video

For this requested piece, I perform it then highlight how one might master the chord progression and rhythm. I then discuss bringing in the melody and enhancing it to fill in space. The chords are shown in the video for a little while but you can find them on my youtube channel community wall, FB and instagram post

It doesn't matter what the rhythm or time signature is if you can't feel your internal metronome. Herein, I show you the layered approach to 'feeling' and 'seeing' the rhythm frame in your mind and how to highlight certain parts of it at will. This will benefit your performances tremendously

This video is how I went about learning the piece, including some more fancy chords and stylistic performance ideas. First, I got the piece on my internal jukebox by listenig to many versions. I then saw the chords on

This video is how I went about learning the piece, including some more fancy chords and stylistic performance ideas. First, I got the piece on my internal jukebox by listenig to many versions. I then saw the chords on jazzstudies.us and dissected them. Easiest was: 1, (F4) 251 (floating 251 to the 4th), 251 to root. 3. 6.. 2 (major third), 2 (minor third), 5 1. Very easy to internalise over a couple of minutes

The chords I used can be found on my YT wall or in my IG post. Otherwise, they're here for you: Am6 / F#m7b5 / Bm7b5 / E7(b9) // Am6 / F#m7b5 / Ab(9/b13) / G(9/b13) / Cm9 /

The chords I used can be found on my YT wall or in my IG post. Otherwise, they're here for you: Am6 / F#m7b5 / Bm7b5 / E7(b9) // Am6 / F#m7b5 / Ab(9/b13) / G(9/b13) / Cm9 / Am7b5 / Ab13 / Gaug // Bb9(#11) / Aaug / Ab9(#11) / Gaug / C7sus... back to Section A

1. Play random stuff at the piano without theory and write down/have program notate what chords/melody notes you end up settling on. 2. As before but with some theoretical confines: time signature, key signature, chord types, structure, tempo,

1. Play random stuff at the piano without theory and write down/have program notate what chords/melody notes you end up settling on. 2. As before but with some theoretical confines: time signature, key signature, chord types, structure, tempo, scales, etc. 3. Sitting at the piano, listening to your inspirational source and only then finding it on the piano; this involves developing an emotional connection to chord types. 4. Composing a lot of the piece away from the piano completely and only going to the piano when you've got long sections down in your mind

I show how I learnt this piece and dissected it into easy chord progressions.instagram.com/danthecomposer - As id quite rare, I encourage you to find the melody first since that's very important for this piece. Chords second

First, take any two fingers and play the intervals of any chord in any key up and down over 3 octaves. Do this with one hand then try together. Of course emphasise keys and chords you don't know so

First, take any two fingers and play the intervals of any chord in any key up and down over 3 octaves. Do this with one hand then try together. Of course emphasise keys and chords you don't know so well to reinforce them. CM7 would be: C/E, E/G, G/B, B/C, etc... the variety of chord types and keys will give your fingers a nice workout

Skylark has a nice easy chord progression to memorise and try out in other keys: 1 2 3 4 1 b5 4... 3 6 2 5 1.. with two tiny differences on the 6 and 2 as I explain. Very easy to play around with so why not give it a go

Sometimes, you may need to play for a singer. How might you go about that if all you've been doing is playing melodies and chords to yourself all on your lonesome? Herein, I present a few steps to master which avoid the melody. Timestamps available below

You really need to spend more time doing one technical exercise to get the benefits of it. Consistency is also important. I don't want you to be playing lots of repertoire without making progress with dexterity, precision and fluency. Endurance is a very powerful way to develop these pianistic elements

Great song. Easy chord progression (6 4 3 6 2 5 1 (all dominant 7th chords).... 4, b5, 1). Perfect to use to showcase thirteenth (736) and ninth (379) voicings. Welcomes the blues effortlessly. Result? This video

Usually I talk about the 251 in repertoire but I realised it can also be used to apply new techniques to. This video gives you 12 ideas on how to play the 251 but as always, personalisation is key!

Usually I talk about the 251 in repertoire but I realised it can also be used to apply new techniques to. This video gives you 12 ideas on how to play the 251 but as always, personalisation is key! Try new things, explore new keys and shapes.. it's so beneficial for when you actually play repertoire.

Sometimes, you just need to be forced to play something, no matter your level, so herein, I show you exactly what I might do when playing this song and you're supposed to copy it 100%. I break it down, say

Sometimes, you just need to be forced to play something, no matter your level, so herein, I show you exactly what I might do when playing this song and you're supposed to copy it 100%. I break it down, say why, what and where in order to help you think how I think. You'll learn about chords, note value awareness and various techniques I use. Of course, everything herein can be applied to any other song and remember, personalisation is key

I don't want you to go down the rabbit hole of 'muscle memory' playing, both in terms of scale fingering and chord types, as well as melody line mastery. By poking the above things with one finger, you confirm to yourself if you can really see, which means if you really know, the scale, chord or melody line