2 Minute Jazz

Peter Martin shows you how to fix three common mistakes people make when playing Wayne Shorter's classic standard "Footprints."For full length piano lessons with Peter Martin, check out https://www.openstudiojazz.com/piano========================================================What's going on? Peter Martin here for Two Minute Jazz. What is that? That's the correct introduction to "Footprints." It's a wonderful tune from Wayne Shorter that is often butchered. But we're gonna fix that today. I'm gonna talk to you about how to stop playing this tune wrong. I'm gonna give you three major errors in this and how to fix them.The first is that bassline and that little counter-melody. It's even part of the melody. Anticipate it, one, two, three... Okay, so you've gotta get that part of the melody right as anticipation and the bassline needs to be on the beat.You can always leave it later on, but let's start there. Then the next part, F minor, again, we can play whatever we want, but the original stays on that drone, that pedal point C is F minor over C, not F minor. Alright... And it's not perfect fourths, that's a different song. Now can you play that? Sure, you can play whatever you want, but know the original first, okay? So get the right bassline.All right, the third major thing we're gonna fix today is the changes on the bridge. F sharp half diminished but with that major ninth. And you gotta know the melody and how it lays. Then we go to F13 because that's part of the melody, sharp 11. So F# half diminished with the ninth, natural ninth, F13 sharp eleven, and now we've got E9 with the flatted fifth. Not... or sharp nine. I mean, you can play that, but that's not what Herbie played on the original, on Adam's Apple. And then we got A7 sharp nine flat 13. Then we got blues comin' down.Okay, fix those three things and you will be jammin' on Wayne Shorter's "Footprints." Happy practicing.========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Brazilian jazz pianist Helio Alves shows you a useful tip on how to get a great texture for your bossa nova piano playing.For full-length piano lessons with Helio Alves, check out https://www.openstudiojazz.com/brazilian-jazz-piano========================================================Hi everybody, Helio Alves here with Two Minute Jazz. One great texture for playing bossa nova piano is to play the whole groove in your left hand, and play the melody (or solo) in your right hand. An important thing to remember is the quarter notes that always have to be there, they always have to be present. Very important part of the groove. That can be with or without the roots of the chord. Basically the technique works like this: with shell voicings, like the root 6 and 3rd or root 7 and 3rd.So the quarter notes are very important. They're always there. I'm anticipating the chords, too. Without a bass note. The quarter notes are there. So that's a very cool technique to play bossa nova, very nice texture and very useful. Thank you again for listening. Happy practicing!========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Edu Ribeiro teaches you the technique he uses to play one of the most common drum patterns in Brazilian jazz: the maracatu.For full-length drum lessons with Edu Ribeiro, check out https://www.openstudiojazz.com/brazilian-jazz-drumming========================================================Hi, I am Edu Ribeiro and welcome to Two Minute Jazz. I'm here now to talk about maracatu. Maracatu is everything from the Northeast of Brazil, from Recife. And it's so hard to play on the drum set because the coordination is difficult. We have to bring the lines of the percussion for the drum set. And they have three special voices that you have put together in this instrument.The first one, and I think the easiest one, is the snare drum, which is just sixteenth notes playing with a little swing, from that part of Brazil.We have the alfaia, that's the huge instrument that you play with two sticks.I can't play that tom and that snare together, and I will try to imitate that with my bass drum. Just with the special and the principle notes from here. I will put the snare drum and the bass drum together.And there is another important voice of the percussion: that is the agogô. That is the most famous line of this percussion. I don't have the agogô here, and I'm trying to play the agogô from the floor tom and the rack tom to make the different types of sound.Okay, and I will put together with the bass drum. Note that I play the hi-hat just on the quarter note, on the time. And I did a different sticking for the snare drum to play the right hand with rack tom and floor tom, and the left hand imitating the snare drum.Okay, happy practicing, and see you next time.========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Did you know that you're probably practicing pentatonic scales the wrong way? Peter Martin shows you an exercise to fix your fingering.For full length piano lessons with Peter Martin, check out https://www.openstudiojazz.com/piano========================================================What's goin' on everybody? Peter Martin here for 2 Minute Jazz. Want to talk to you about pentatonics. I've got a brand new exercise for you over C minor, or E flat major, however you wanna think about it. And we go through two different levels, three different rhythms for each one. The first thing we're doing, we're starting down here, an octave below middle C. Too many of you are practicing only in this [upper] range of the instrument and then you end up soloing only in these two octaves. We got great stuff down here. Great little tenor region of the piano we wanna explore. So if you wanna play it, you gotta practice in there, okay?So we're going up. And then we're (on four) coming down and here's our shape, skipping. Lots of use of the four. A lot of you are just playing with one two three and there's some false information goin' out here that you only have to use three fingers. We've got five fingers. If you're not gonna practice with the fourth and the fifth, they're never gonna get strong and independent and be able to at least come close to equaling one two three.So many situations, what we have to be able to play with strength and agility with our fourth and fifth finger, so we gotta practice it. So I've worked that into the fingering here. And we're just changing up the rhythm.Level 2A, same thing: goin' up straight. Pentatonic. Now we gotta new shape. And this is really based upon something a lot of players use. That's just going up a half step. So it gets your hand ready for that. And now we're introducing a lot of fifth finger. A lot of you are gonna wanna go four or three there. But the idea is we wanna keep that wrist smoothly gliding up and down.Pentatonics. Happy practicing!========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Helio Alves shows you how to imitate the percussion instruments that are essential to a tight baião rhythm.For full-length piano lessons with Helio Alves, check out https://www.openstudiojazz.com/brazilian-jazz-piano========================================================Hi everybody, Helio Alves here for Two Minute Jazz. The baião rhythm is a rhythm from the northeast of Brazil and has this basic pattern played by percussion instruments and accordion that's very important for this particular style.And a typical sound of the baião is this type of sound, which you have the basic percussion pattern in your left hand and the accordion patterns in your right hand. And it sounds like this with a lot of 16th notes, a lot of syncopation.Another characteristic of this style is the Lydian flat seven scale that's very commonly used.Thank you very much for listening. Happy practicing! See you soon.========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Modern Brazilian jazz monster Edu Ribeiro demonstrates how to take the samba school to the drum kit.For full-length drum lessons with Edu Ribeiro, check out https://www.openstudiojazz.com/brazilian-jazz-drumming========================================================Hi, I am Edu Ribeiro and welcome to Two Minute Jazz. Today, we are going to talk about samba. Bringing the lines of the percussion from the drum set, we have three special lines to put together here.The first one is the most important for the samba, and that's the surdo that keeps the time for everybody. And the surdo can be very simple, or it could be a little syncopated, but it's going to be hard to imitate with the bass drum. So it could be played less syncopated.The other instrument is the tambourine, the small instrument that people play in the school of samba. But we have a special clav like that. I'm going to try to put together the tambourine and the bass drum imitating the surdo.And another one that I'm going to play is the pandeiro that people play with two hands. I'm going to try to play all the sixteenth notes with my right hand on my hi-hat. Then I'll try to put it all together.There is another instrument called the agogô. I'm going to try to imitate two songs with my tom and my floor tom.Okay, happy practicing and see you next time!========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Tired of using the same old piano voicings when playing ballads? Peter Martin shows you some new shapes to shake things up.For full length piano lessons with Peter Martin, check out https://www.openstudiojazz.com/piano========================================================What's going on everybody? Peter Martin here for Two Minute Jazz. Hope you're doing well. Got a quick tip to you today on diatonic fourth voicings. Just playing around a little on "If I Should Lose You" and I was just thinking about the uses for this on ballads. But even if we take the tempo up. If we look at like a basic fourth voicing over G minor. Three notes in the right hand, two in the left hand. If you have the ability to move through this and really all the different scales with this shape diatonically, you're gonna have some nice things that can happen. For your comping, for your soloing, for a lot of things.So, these are all fourths on the Dorian, right? Starting on the root. So, you wanna have that in all the different keys. And kind of understand them, like that's over F minor. But it works in fourths over E flat major. So, if you're on like a ballad. You're moving in and out of them but that's the foundation is that diatonic. If you combine that with an understanding of a chromatic, you're really getting somewhere.And you can think about these melodically as shapes too. But you gotta have a handle on all those, right? In all your different keys so that you can do that.All right, have fun with that. Diatonic fourths. Peace. Happy practicing.========================================================#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #diatonic #fourth #shapesWebsite: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Edu Ribeiro reveals an exercise he created to add some swinging 16th notes in samba patterns.For full length drum lessons with Edu Ribeiro, check out https://www.openstudiojazz.com/brazilian-jazz-drumming========================================================Hi, I am Edu Ribeiro and welcome to Two Minute Jazz. When you see the 16th note written like a samba pattern, and you have just something that's so different, that when you have to play that rhythm. And the exercise that I created to make a real different 16th note with a little swing, it is something like that. You have to think, first, in the síncopa with the left hand. And two eighth notes with the right hand like that. And the other exercise, you think about three against two. Three with the left hand and two with the right hand. And now try playing two bars with the síncopa and two bars with the triplets against two. And now we have to take off the first note off my left hand of each tempo.I hope that's gonna help you to try to imitate that thing that people do in the school of samba. Just with your hi-hat. Okay, and that is something that you can find in my course from Open Studio. And you're gonna have more details there. And I hope you enjoyed, and see you next time.========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Edu Ribeiro shows you how to combine different traditional Brazilian rhythms, including the samba and baião.For full length drum lessons with Edu Ribeiro, check out https://www.openstudiojazz.com/brazilian-jazz-drumming========================================================Hi, I'm Edu Ribeiro and welcome to Two Minute Jazz. You know what those rhythms that I just played now have in common? Every rhythm was the same sub-division, in 16 notes, and often this rhythm has the same time signature: 2/4. And all of these rhythms were Brazilian rhythms. And that's something that people maybe don't know. That if they are different rhythms, you could combine these rhythms. You could play this rhythm in the same song, and with some parts you play samba and a different part you play a baião, or in the same part of the music you play both.And talking about the 16 notes, if you play samba, that is the most common Brazilian rhythm. You have the pandero, the tambourine doing chika chika, that I'm going to imitate with my right hand or on the hi-hat or on the cymbal.If you have to play a baião, you have the triangle that goes: ticka ticka ticka. That I'm going to try and imitate with my hi-hat too.If you're going to play a maracatu, the snare drum does the 16 note all the time.And even if in the rhythm there is no percussion instrument playing out the 16 note, the subdivision of the clave will be in 16 notes, as in the afoxê from Bahia.That is one thing that we're gonna practice together here, the combination of this rhythm.Happy practicing.========================================================Website: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Patterns might be a dirty word in jazz, but Peter Martin shows you how to play them without making it obvious.========================================================What's going on everybody, Peter Martin here for 2 Minute Jazz. Wanna talk to you about patterns, which is a little bit of a dirty word for me, but there I said it. But I want to talk to you about how we can play patterns, without them sounding like patterns.Now, a pattern is anything that's repeated, it could be anything that you repeat and move around. So, how do we play them? Because actually patterns and art and music and nature are very important, and they form a great foundation for some of our great improvisations.So, I was kind of playing around on "Someday My Prince Will Come," and when I get this D flat diminished, a little bit of a problematic chord for many of you. So that's a place where sometimes we'll take a pattern, we'll take an easy phrase, and then repeat it.So we're just going up the diminished whole halves, I guess it is. In broken minor thirds. Over a little triplet thing. That's fine but it sounds a little corny. And then especially if we keep moving it into that C minor.So, there's some little things we can do though. So there I'm just I'm a little out of time, we'll pull it back into time, but I'm going up the scale, the diminished, but then I start going chromatic, and kinda change up the time also, so if I start out triplets, it makes it a little more organic, it makes it more like, you know, you'd sing it or something although you'd be a heck of a singer to be able to do that, but harmonically and melodically that chromaticism really kinda adds something I think nice.Other things you can do is to keep the same interval but then change direction, and doing it in a kind of random and organic way. And if you combine that with the chromatic, then it sounds like it's not a pattern, but it actually is.All right, have fun with that, happy practicing.========================================================For full length piano lessons with Peter Martin, check out https://www.openstudiojazz.com/pianoWebsite: https://www.openstudiojazz.comFacebook: https://www.facebook.com/HeyOpenStudioInstagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. reveals his go-to fills when playing with a big band.For full lessons with Ulysses Owens, Jr., check out Open Studio: https://www.openstudionetwork.com/project/fyb-overview/========================================================Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you a simple left hand comping technique that can add another layer of groove to your playing using only the root-5, 6, and 7.========================================================What's goin' on, everybody? Peter Martin here for Two Minute Jazz. Just wanted to throw one little left hand technique. We got a lotta cool things we can do over Chick Corea's "Spain" to get that groove going.But one that I realized I do sometimes, kinda wish I did it more, is just the concept of root and five, root and six, and root and seven. Real simple little melodic play.So it's just a little bit of a melodic concept. And you know, you gotta check on each chord which ones of 'em sound good, some of 'em sound better than others. But you can do 'em on almost every chord.And you know, different orders, playing around with them, but it's just a little bit of a melodic play, little countermelody thing to get a little action in the left hand that's a little different than some other things.All right, have fun. Happy practicing.========================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/pianoWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. shows you how to keep time on the snare using a technique from one of the great innovators of jazz drums: Baby Dodds.For full lessons with Ulysses Owens, Jr., check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/========================================================This is Ulysses Owens, Jr. with Two Minute Jazz. We're going to talk about a guy by the name of Warren "Baby" Dodds. Baby Dodds was one of the first great jazz drummers that really started out jazz swing drums. But, because the sound of the drums and jazz drums had not evolved yet with the ride cymbal, he created playing time and keeping time with this cool pattern, that comes out of the New Orleans rhythm on the snare drum.The cool thing is he's taking a quarter note, a buzz roll, and he's making that groove, alright?Also, he had wood blocks. He had some other auxiliary percussion as a part of his drum kit, and he would make it sound like this.Then, you get to the swing drum era and with that era you start playing on the hi-hat.But none of that would be possible if not for Baby Dodds introducing this.Check out Baby Dodds 'cause it all began with him.========================================================Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you different movements and scales you can combine to add variety to your voicings.========================================================What's going on everybody? Peter Martin here, just wanna talk a little bit about two-handed voicings, use of fourths that can be so useful. Just playing around a little bit over "Autumn Leaves." And especially when you combine them with other types of voicings, maybe even kind of block chords situations. Kind of traditional stuff.And then when we play in the fourths, these are all perfect fourths and there's certainly a lot that you can do just moving around chromatically. But don't sleep on the diatonic movement with those fourths.What I mean there is we're just going up, C minor Dorian. You can throw in some chromatic chords too, but the idea being that we don't have to just do, we could do diatonic, just going up that C Dorian scale or B flat major scale.So, you wanna have those in your hands. You can go six notes, you can go five, you can go four. But when you combine them with other voicings, that's when it gets really interesting. Right?All right, happy practicing.========================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/pianoWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. shows the techniques he uses when playing at a fast tempo.For full lessons with Ulysses Owens, Jr., check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/========================================================Two-Minute Jazz with Ulysses Owen, Jr. We're gonna talk about playing fast.The key to playing fast is playing slow first. There's nothing that I can play fast that I can't first play slow. When you learn how to play slow, you learn the right placement, right? So you get on the ride symbol, you consistently play in the same position, you learn how to feather, the hi-hat on two and four.But there is a little secret that many don't talk about that helps you to play fast. That's something called breathing. When I play fast at a fast tempo, I'm always breathing, and the more that I breathe, the more that I can stay relaxed while playing fast.Another thing is using your hands and your wrists and keeping the mobility in those hands and wrists depends on very much on being able to breathe, okay? So, I'll start slow and then play faster and faster, but watch my breathing change.And the key thing about breathing is that you have to breathe more often the faster you play. The other thing is you have to play more simple. When you play fast, you have to focus on what is the rhythm I'm gonna play on the ride symbol, how am I gonna accompany that with the hi-hat and the bass drum, and you get tighter and you get more simpler, and you just relax the body, and that way you can play fast.Playin' fast, but you can play fast if you learn how to play slow.========================================================Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin provides some examples of taking inspiration from hand drums for your comping.========================================================What's going on everybody? Peter Martin here for 2 Minute Jazz. Wanna talk to you this week about two-handed rhythmic comping ideas. Now, it's so effective to comp with both hands, where we're linked up rhythmically.But what about if we can combine a little bit of two handed stuff? So the idea with this, and what I want you to think about for inspiration, is somebody playing the hand drums, right?So it's a little bit different sound, and we take that to the two hands. And we can go back and forth to being linked up. That's where it gets really fun.But the syncopation that we can create between the hands is really exciting.Okay, little idea for you. So just think about those hand drums. Alright, happy practicing.========================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #2handed #rhythmic #compingWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. gives a tutorial on how trading fours can help you when playing with a band.For full lessons with Ulysses Owens, Jr., check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/#2minjazz #ulysses #owens #openstudio #jazz #drums #tutorial #tradingfours========================================================Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you how to add passing tones to your lines to get a more authentic bebop sound.========================================================(piano music) - What's going on everybody? Peter Martin here for Two Minute Jazz. Got a quick tip for you today on bebop passing tones. So many different ways to get into an authentic and really satisfying bebop sound, but one of them that I love that really kinda comes from a harmonic concept that can inform your melodic bebop playing is passing tones, and I'm gonna just talk about two today.E flat major.(piano music)You know, if we improvise over E flat major.(piano music)And we just stick to the E flat major scale,(piano music)it's fine, but it gets interesting when we put in those passing tones. So if we look at the minor third,(piano music)that's the first one.(piano music)And you know, there's three basic ways of thinking about this. Start your line on the passing tone.(piano music)And normally we're looking at resolving that minor third up to the third or down to the ninth or the second. So you can start your line there or you can go to it immediately at the beginning of your line.(piano music)From the third, or you can do it from the second, I don't like that one as much.(piano music)Or the third way is to play it somewhere in the middle of your line.(piano music)And when you're running up a scale, this is a great time to do it, because I mean, it works aight, but it's kinda(piano music)if I just play the major scale, but if I do(piano music)and put that minor third resolving up to the major third in the middle of it, and then I mean, you know you can get (piano music) some rhythmic offsets, some syncopation, that's where it gets really nice.So the other one I like a lot is a minor sixth. Same thing, you can start your line there,(piano music)you can go right to it.(piano music)Or you can catch it in the scale.(piano music)Okay?So these are just two over the major scale, but they're fun to practice by isolating them. Each scale has its own, we'll get into those on other episodes, but for now, happy practicing.(soft music)========================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #bebop #passingtonesWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Geoffrey Keezer shows you how to spice up your solos by switching up the rhythm.=====================================================(piano music)- Hey, this is Geoffrey Keezer for Two Minute Jazz. I'm gonna talk to you about alternating between triplets and sixteenth notes. Now this is something you can do in your solos to really give some rhythmic spice, so you're not just playing eighth notes all the time. An easy way to practice, you know, get a little metronome like this, start slow, you can just do scales.(piano music)Right? Or you can do any combination of that.(piano music)But the main thing is just lock it in with that metronome, so when you're playing with a real drummer, you're locked in with the drummer's groove. You know, and then you can speed it up. Always start slow, and then go faster.(piano music)So in the context of jazz.(piano music)=====================================================Want more piano lessons with Geoffrey Keezer? Check out his brand new course, Advanced Jazz Piano Concepts, at https://www.openstudionetwork.com/ajp-overview. You can also purchase his first course, Keez to Jazz Piano, at https://www.openstudionetwork.com/project/kjp-overview/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. demonstrates the essentials of what it takes to play the drums with brushes.#2minjazz #ulysses #owens #openstudio #jazz #drums #tutorial #brushes========================================================(rhythmic drums beating)(hi-hat clinking)(brushes tapping)(brushes sweeping)- The brushes are my favorite thing to play. It's one of the most sensitive ways to play as a drummer and it's one of the coolest ways to really create amazing textures. When you play the brushes, there's a couple different rules that you have to apply by, but ultimately you can still make great music. The first rule is, left hand. Left hand is your sweeping hand, like a broom. You sweep, one, two, three, four. One, two, a-uh, uh, uh.(brush sweeping and tapping)This is with an accent. This is without an accent.(brush sweeping)We'll go back to the accent.(brush sweeping and tapping)Then you can take that right hand with the same spang-a-lang pattern you played in the right hand with the ride cymbal, you add that to the center of the drum, like this.(drum beating)(brush tapping)(brush sweeping)Then you can add the hi-hat in,(hi-hat clinking)(brush tapping)(brush sweeping)Then a little bit of bass drum.(Bass drum booming)Then sometimes you can add some fill.(rhythmic drums beating)(brushes sweeping and tapping)The cool thing about the brushes is that they're really used with great singers. You can use them in certain arrangements with big band. You can use them even in certain arrangements with horn players or you can just use them to play softer. For younger drummers and drummers that are playing around locally, you can use them in different venues, whether it's a restaurant gig, or club gig or whatever, but it's an art form that you've gotta really check out. There's some great drummers to check out, Vernel Fournier, Papa Jo Jones, Kenny Clarke, Elvin Jones and so many others. But I really love the brushes because it's a way to find your own, creative sound. And I have a lot of fun playing the brushes, but you've gotta really make sure you check out the brushes and make sure that you know how to play the brushes by themselves and with the hi-hat. So like this,(drum beating)(brushes sweeping and tapping)(hi-hat clinking)and also like this(drum beating)(brushes sweeping and tapping)(drum booming)So again the brushes are a great thing to have fun with and it's a great way and a true part of the jazz tradition of being a jazz drummer. I love the brushes.(fast, rhythmic, percussion music playing)(percussion playing)(melodic piano playing)========================================================For full lessons with Ulysses Owens, check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you how to spice up a tune by paying attention to phrases within the composition.=====================================================(upbeat piano music) - What's going on everybody? Peter Martin here for Two Minute Jazz. Just got a quick tip for you today, about accumulating vocabulary ideas and knowledge, for your compositions. Not just for the licks that you wanna play, and the substitutions and stuff, but as you're learning tunes really paying attention, to some compositional features there, that you can apply to your own tunes, when the right time comes. So, I've been diving back in deep, into the late great Roy Hargrove's music, and he has this great tune "Mental Phrases," that I've been playing for years, that Roy actually taught me years ago. Such an honor and privilege to have that in my mind still. But he does this great thing.(lively piano music)Right at the beginning of the tune, it's real simple kind of modern bebop.(bebop piano music)Two, five, one, to A-flat, and then another bar goes by, and then he does to G-flat major. So, we've got a major seven cord, three, four, but in order to get there he goes, one, two, three, four. He goes to D-minor seven for two beats. G-seven a two, five, one that kind of slides in from a half step above. So, what it is kinda make of a note of that, and then what it sounds like, and then there might be an opportunity you have at a tune. Let's say you're going, you know, you're writing a tune. You're going from A-flat major.(calm piano music)Two, five, one, to D-flat major. Why not use this technique that Roy does. A-minor seven. D-seven to D-flat major. Okay, just kind of a different sound, so once you kind of learn the tune, and you learn the form of something new, really pay attention to what's going on. Really get it in your ears. Get it inside of you here, so you can take that little harmonic technique, that harmonic little piece of vocabulary and apply it, into your own compositions. All right?(jazz piano music)(upbeat band music)=====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #vocab #ideasWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Geoffrey Keezer provides some insight into how he emulates bass players with his left hand.Check out Geoffrey's course, Advanced Jazz Piano Concepts, at https://www.openstudionetwork.com/project/ajp-overview/=====================================================(jazz piano music)- Hey, this Geoffrey Keezer for 2 Minute Jazz. I'm gonna talk about playing bass lines with your left hand really briefly. I feel like when I listen to music, my hands, my right hand might be listening to the right hand solos of Herbie or Bud Powell or Chick or Wynton Kelly or McKoy, but my left hand, at the same time, is listening to the bass line. My left hand is checking out Ray Brown and Paul Chambers and Bootsy Collins and Jaco Pastorius and guys like that. When I sit down to play solo piano, my left hand is actually thinking like a bass player. This kind of bass line I'm playing on The Nearness of You is kind of a hybrid of something Ray might play and a Jaco-ish kind of thing.(jazz piano bass line)So when I got to the diminished cord(piano melody with right hand)I did a thing that Ray Brown did(funky bass line)That lick based on the diminished scale, but these are all things that creative bass players play. So, in addition, when you're transcribing don't just transcribe the right hand piano solos but actually transcribe what bass players are doing, what the horn players are doing, what the singer's doing, what the drummers are doing. All these kind of ensemble ideas you can work into your solo piano playing and it's gonna give it an extra dimension and more depth. It's gonna build up your left hand and make it stronger at the same time.(jazz music featuring piano)=====================================================#2minjazz #openstudio #geoffreykeezer #jazz #piano #basslines #lefthandWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. shows how to play a foundational drum pattern in jazz: the spang a lang.#2minjazz #ulysses #owens #openstudio #jazz #drums #tutorial #spangalang========================================================(fast cymbals jazz beat) Hi, I'm Ulysses Owens, Jr. with Two-Minute Jazz. Spang-a-lang. That is the pattern that swing, jazz rhythm was born out of. Spang-a-lang, spang-a-lang, spang-a-lang.(plays drums to the rhythm)If you break down the quarter note, one, two, three, four.(plays rim of snare)Two, three, four.(plays rim of snare)High hat on two and four.(plays rim of snare)(adds high hat)There's a rhythm called the triplet.(plays a triplet on snare drum)Out of the triplet comes the spang-a-lang pattern.(plays spang-a-lang pattern)You transfer that to the ride cymbal, and a great drummer by the name of Kenny Clarke is the one that invented that pattern, spang-a-lang pattern. Sounds like this.(plays spang-a-lang pattern)The cool thing about the spang-a-lang pattern, when it is played appropriately and in the right way, it can move the band and empower the band to swing harder than anything possible. When you're not playing it right, it may sound a little bit like this.(plays quarter notes on cymbal)Just playing quarter notes, or, (plays 8th notes on cymbal) just 8th notes.(plays jazz rhythm with heavy, fast cymbal)Playing too many notes. It's only when you get that pattern, spang-a-lang, over and over again, you create a groove and then have that repetition, that really makes it something that people can hold on to. Like this.(plays spang-a-lang rhythm)My favorite is playing some up-tempo spang-a-lang.(plays fast spang-a-lang rhythm)Spang-a-lang is where's it at, and that's how you can really maximize your sound as a drummer. Spang-a-lang.(jazz piano and drum music)========================================================For full lessons with Ulysses Owens, check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you 2 triads you can use to add some gospel flavor to your playing.=====================================================(soulful piano music) - What's going on everybody? Peter Martin here for 2 Minute Jazz. Hope you're doing great. Just wanna talk a little bit more about getting that gospel sound, that gospel feel, that gospel sensibility into your jazz and groove playing. I'm gonna give you just two triads. I'm gonna give you - they're already out there! We're looking at G-flat major.(soulful piano music)Little simple progression going down to B-flat minor. So a lotta ways to get there, but if you just take a D-flat major triad an an E-flat minor triad. And basically, you can do it with either hand, you should learn it in both hands. But if we just move up to the next inversion, so if we start, and this is over G-flat, okay? So we're in G-flat major.(soulful piano music)We're in G-flat major so we'll take a D-flat major triad first. And then we go E-flat minor triad, D-flat major first inversion, E-flat minor second inversion, I mean first inversion. D-flat major second inversion, E-flat minor, et cetera. You get it. And I mean, there's always opportunities to do some grace notes, a little bit of blues playing. But there's a lot of melodic applications for these same triads.(bluesier soul piano music)Okay, but just those two triads can take you far to get that sound. Happy practicing!(funky jazz music)=====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #triads #gospelWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Geoffrey Keezer shows you how dynamics can add excitement to your performances.Check out Geoffrey's course, Advanced Jazz Piano Concepts, at https://www.openstudionetwork.com/project/ajp-overview/=====================================================(piano music) - This is Geoffrey Keezer for Two Minute Jazz. I'm going to talk to you a little bit about dynamics. Now, in addition to having a strong groove and great information, you know, creative, improvisational ideas, if you bring some dynamics into your playing, it's going to give your music that much more drama and excitement and really take it to the next level. I'll do things in my playing where, I'm playing nice and strong and loud and all of a sudden, you just drop it down to a whisper. These were techniques that, like, the Count Basie Band would use to great effect, or Ellington. Oscar Peterson Trio, you hear them doing that too, where they're just cranking along and they're like, ping ding, ding, just stop. And that, not only makes for good music, but it makes for good entertainment. It makes it fun to listen to, from an audience perspective. Because it's something unexpected. See where you can work in dynamics and drama and all those kinds of things, when you're playing.=====================================================Want more piano lessons with Geoffrey Keezer? Read about his upcoming course at https://www.openstudionetwork.com/ajp-overview. You can also purchase his first course at https://www.openstudionetwork.com/project/kjp-overview/#2minjazz #openstudio #geoffreykeezer #jazz #piano #happypracticing #dynamicsWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens, Jr. shows you how to have fun with the drag.#2minjazz #ulysses #owens #openstudio #jazz #drums #tutorial #rudiments========================================================For full lessons with Ulysses Owens, check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin teaches you the keys to keeping your triplets locked in the groove.=====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #swinging #tripletsWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Geoffrey Keezer runs through some exercises to help get your left hand as strong as your right.Check out Geoffrey's course, Advanced Jazz Piano Concepts, at https://www.openstudionetwork.com/project/ajp-overview/=====================================================#2minjazz #openstudio #geoffreykeezer #jazz #piano #happypracticing #buildingstrength #lefthandWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Ulysses Owens Jr. shows you how to have fun with the paradiddle.#2minjazz #ulysses #owens #openstudio #jazz #drums #tutorial #rudiments========================================================For full lessons with Ulysses Owens, check out Open Studio Network: https://www.openstudionetwork.com/project/fyb-overview/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you how to solo with block chords in a modern style.=====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #blockchord #soloingWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Romero Lubambo explains the rhythmic differences between baiao and bossa nova.=====================================================For more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blog/For more guitar lessons with Romero Lubambo, visit Open Studio...https://www.openstudionetwork.com/guitar/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you some tips for playing quickly on the piano.=====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano#2minjazz #openstudio #petermartin #jazz #piano #happypracticing #practicehack #playingfastWebsite: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudioTwitter: https://twitter.com/HeyOpenStudioFacebook: https://www.facebook.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.

Romero Lubambo shows you how to use one finger on two different frets.=====================================================For more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blog/For more guitar lessons with Romero Lubambo, visit Open Studio...https://www.openstudionetwork.com/guitar/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Steve Wilson shows you how to integrate melodies from other works by a composer into a cadenza.=====================================================For more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blog/For more saxophone lessons with Steve Wilson, stay tuned to the Open Studio website for his upcoming course:https://www.openstudionetwork.com/project/fjs-coming-soon/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you how to get into a flow with your left hand voicings.=====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/pianoFor more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blog/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Steve Wilson gives you advice on the most fundamental and important component of jazz: rhythm.=====================================================For more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blog/For more saxophone lessons with Steve Wilson, stay tuned to the Open Studio website for his upcoming course:https://www.openstudionetwork.com/project/fjs-coming-soon/Website: https://www.openstudionetwork.com/ Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNetwork/ See acast.com/privacy for privacy and opt-out information.

Romero Lubambo shows you how to use your little finger to add some extra color to your chords.=====================================================For more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blo...For more guitar lessons, visit Open Studio...https://www.openstudionetwork.com/gui...Website: https://www.openstudionetwork.com/Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNe... See acast.com/privacy for privacy and opt-out information.

Peter Martin shows you a turnaround you can use to get a classic smooth jazz sound. See acast.com/privacy for privacy and opt-out information.

Romero Lubambo, goes over one sick scale on the guitar.=====================================================For more videos like this, check out Open Studio's blog: https://www.openstudionetwork.com/blo...For more guitar lessons, visit Open Studio...https://www.openstudionetwork.com/gui...Website: https://www.openstudionetwork.com/Instagram: https://www.instagram.com/heyopenstudio/Twitter: https://twitter.com/HeyOpenStudio/Facebook: https://www.facebook.com/OpenStudioNe... See acast.com/privacy for privacy and opt-out information.

Peter Martin gives some keys to playing in the Four On The Floor style on the piano.=====================================================What's goin' on everybody? Peter Martin here for 2 Minute Jazz. I want to talk to you about what I like to call Four on the Floor for the piano. (rhythmic piano playing)So playing Duke Ellington's "Do Nothing Til You Hear From Me," and I was kind of reminded what a great technique this is to be able to add in and we can kind of transition from walking bass, to that four on the floor where it's like everything's got a root.And you can think about a lot of different ways to do this but if you can reach that 10th that's a nice one, root, 7th, 10 / root, 7, 3, but you can also go root, 5, 7. And normally you can have the root on the bottom but it doesn't always have to be there. And I love getting a little melodic movement going. You know, just a little bit of countermelody. And once you get that solid, you can go right in the pocket with what you're playing in the right hand. But it gets really fun when you kind of loosen up. The more solid you are, the more out of time you can get. But it all starts here.And you hear the articulation of the phrasing; it's not (long droning eighth notes) and it's not (short staccato eighth notes) It's (bouncing eighth notes)It's got a little bit of weight. It's almost like, you know like that bass drum feathering. And then you can do a lot of things when you are in time with the right hand to syncopate. So it's very basic in the left hand, but it just keeps you from having to kind of do that, (jumpy left hand) and it segues nicely with the walking. Or a two feel. =====================================================For full length piano lessons with Peter Martin, check out www.openstudionetwork.com/piano See acast.com/privacy for privacy and opt-out information.

=====================================================What's goin' on everybody? Peter Martin here for Two Minute Jazz. I wanna talk to you today about playing in 7. Now, it's fun to play in odd tempos, but it's not fun to get lost playing in odd tempos. So I wanna give you just one little tip here for playing in 7. And that is: play over the bar lines. Okay? So if we're going, 1, 2, 3, 4, 5, 6, 7: And that's the groove. The tendency is to want to play your solo lines like segmented by bar because it's stretching out so long. So it'd be like, 5, 6, 7:Okay? But that actually makes it harder to play in 7, I've found, as opposed to playing over the barlines where you're thinking more, or hearing it more: 5, 6, 7:Then you can kind of come back to establishing the [beat] one at different times. So the way to get into this is to start by playing just over one barline, cause it's hard to stretch it over many barlines. You gotta to get to the point where you really can feel that groove even when it's, even when it's not playing. So like right there, you might wanna take, just go over one barline. So I've got like:5, 6, 7:And then I'm going to the next chord. But instead of playing the one, I'm gonna go: 5, 6, 7:And then I'll wait until I get the next, that third bar to play on the one, and kind of line myself up. Right? So then once you kind of get to the point where you can spread it over a number of bars, and you trust yourself, you can really start to play with that time, kind of dancing around it, resolving it when you want to. But it all starts by playing over two bars, then you can learn to play over three bars, and then you can learn how to play over four bars. Alrght? Happy practicing. ======================================================Want more from Peter Martin? Check out his courses and full length lessons at Open Studio: openstudionetwork.com/piano See acast.com/privacy for privacy and opt-out information.

King of Bossa, Romero Lubambo, goes over some tips to expand your guitar range.================================================================[Music]Hello, Romero Lubambo here for Two Minute Jazz.I would like to talk to you about playing the scale in the whole neck of the guitar. A lot of times we think about one position to play a scale. When I asked sometimes some student to play, "Oh can you play a C major scale?" which should be easy, they play-- [fast, one-octave scale] --or sometimes with two octaves.--[fast, two-octave scale] --But I think scales should be thought as the whole thing on the neck. So the C major scale should start here:-- [much longer, multi-octave C Major scale] --You have to have this vision that all the notes of C major scale, where they are. For example, if you are playing a solo, we have to know what's here [music] or here [music] or here [music].So one thing that I did and I do when I have some time, is to playnotes just randomly off of any scale. I'm talking about C major but it should be done for every scale.So for example [random C major notes], I know those notes belong to C major scale and you should know because when you're doing a solo, improvisation, we have to know which notes belong to the scale that you want to play.Not necessarily on top of C major, maybe you play the scale, D minor chord for example. You still need to know --[random D minor notes]-- So practice this as weird as possible in terms of --[weird D minor notes]-- The most weird you can do, the better because your brain is going to get used to those jumps, you know, and you get used to see those notes on the neck of the guitar, it's gonna help you a lot. Do that for every scale. Thank you very much. "Boa sorte com a música” - Good luck with the music!=====================================================For more guitar lessons with Romero Lubambo, visit Open Studio at: https://www.openstudionetwork.com/guitar/ See acast.com/privacy for privacy and opt-out information.

In this video, King of Bossa Nova, Romero Lubambo teaches everything you need to know to play hammer-ons with ease.=======================================================================================Hello! Romero Lubambo here for two minute jazz.I'm gonna talk today about hammer-ons. For me it helps a lot for my scales, for my phrasings, single-note phrasings, to have the hammer-ons. Where you pluck one note and you hit the second note without plucking it with the right hand. So you have two notes for the price of one, basically! So for me, this makes me play much faster. Probably double faster. So, things like that. There is a very good exercise that you guys can practice for hammer-ons, which is: So, 1 - 3, 2 - 4... 1 - 3, 2 - 4....So in this case, I'm doing 1 - 3, 2 - 4, but you can do 1 - 2, 3 - 4. And 1 - 4, 2 - 3. So any configuration that you can think of, practice that because this can make you play faster phrases and try to be clean on those hammer-ons. Thank you very much for watching. "Boa sorte com a música” - Good luck with the music!=====================================================================================Check out more guitar lessons with the King of Bossa Nova, only at https://www.openstudionetwork.com/guitar/ See acast.com/privacy for privacy and opt-out information.

In this lesson, Greg Hutchinson demonstrates some keys to nailing trills with perfection. ========================================================================================Quick tip! Trill: While you got the symbol at your foot. It's got to be good. Brush in between thumb and first finger. Motion like this:And you just work on spinning it out. Here we go:Just sit, dont worry about it. You do that every day. You can start slow. And just get your hand used to the motion. Close your eyes. And you too can get to the trill.========================================================================================Check out even more Greg Hutch lessons only at Open Studio... https://www.openstudionetwork.com/project/greg-hutchinson/ See acast.com/privacy for privacy and opt-out information.

Hello! Romero Lubambo for Two-Minute Jazz.Talking today about pull-offs. Very important thing for my way of playing phrases, is the pull-offs. Which is the situation that you play one note, plucking with the right hand and you just pull the note with the left hand to play the second note that's behind here.So, this helps a lot in terms of:So you can pull the pull-offs from the second to the first finger,third to the first finger,or the fourth to the first finger, or the fourth to the second finger.Those are more difficult when you use those two fingers here.A very good exercise to do would be: [music]So, 3 - 1... [more music]Actually, anything that you can think of in terms of practicing pulling the first note to play the second one, just with the left hand is very useful. Thank you very much! "Boa sorte com a música” - Good luck with the music!=======================================================================================Get more guitar lessons from the King of Bossa Nova only at Open Studio: https://www.openstudionetwork.com/guitar/ See acast.com/privacy for privacy and opt-out information.

Often asked: How do we change from brushes to sticks while we're playing? Different ways.Some guys like to put the brush between your legs while you're playing.You grab one out...Vice versa and we're playing brushes, right?Now, you got to be able to put the brush down.Grab the sticks.So it's not about...Like you don't want that, you want a continual sound to be happening. So,Or, you put the sticks here. It's called the reach for it.Either way, I guess the really important thing is that you're able to switch either from the stick to the brush or brush to stick without stopping the motion of the music. So practice that every day just going back and forth, back and forth.That's my quick tip for the day. Hutch.=====================================================Check out more of Greg Hutchinson's online lessons only at: https://www.openstudionetwork.com/greg/ See acast.com/privacy for privacy and opt-out information.

Open Studio artist Sean Jones goes over some of his keys to tonguing on the trumpet, and exercises he does to practice.====================================================================================What's up everybody? Sean Jones two-minute jazz here. This is not necessarily related to jazz, but related to pedagogy. I'm gonna talk about tonguing a little bit. Specifically multiple tonguing.I like to do different multiple tonguing in my practicing, also on my solo playing. Alright, double tonguing, triple tonguing. Now the way that I practice that is I like to isolate the syllables of thedouble tongue, okay, tew and kew, alright? Tewkoo, tewkoo, tewkoo, tewkoo tew.So I'll just isolate the tew, and then I'll play the back end of that which is the koo. Notice I'm saying koo, not kuh. Okay, kuh is a little too far in the back for me. I like to say koo because it's more forward. And I try to make that sound exactly like the single tone.Okay so, that was just the koo. Now I like to do it backwards. kootew, kootew, koo.Alright, trying to make that sound like the tew and the koo syllable.Now we come along and we do the tewkoo, the regular way that you would do double tounging.Single, or the tew.The koo.Backwards.and forward. Tewkoo.Trying to get them to all sound the same and that's a great workout for your tongue. Get the muscle working. Works out different parts of the tongue and then it also helps with your jazz articulations. So I hope that helps. Thanks.=====================================================================================Check out more trumpet tips, tricks and entire length lessons from Sean Jones only at Open Studiohttps://www.openstudionetwork.com/project/jtf-overview/ See acast.com/privacy for privacy and opt-out information.

(energetic guitar music)Romero Lubambo for one more Two-Minute Jazz.One thing that I use a lot when I'm playing either with an ensemble, a lot of musicians or with a duo, with a piano player forexample or another guitar, first of all, we have to always listen. All the time what the other musicians are playing and adapt. But this thing of the upbeat playing.It's something that's not so easy to do. It may sound simple.(upbeat guitar music) But it has to be really precise. The bass stays always in quarter notes.Change the chord.If the other musicians are playing for example: (slower upbeat guitar music)That will be the perfect compliment for that type of playing.(energetic guitar music)You can always use that anytime you play a Samba or with any group or type of group, I think and add a lot in terms of the swing, in terms of the feeling.But the bass is always is a quarter note, not more than that and just practice this. (energetic guitar plucking)It can be difficult in the beginning but after you practice that and you're comfortable doing that it's going to be very useful for you in the future.Thank you very much. “Boa sorte com a música” - Good luck with the music!========================================================Check out more from Romero Lubambo at Open Studio: Brazilian Jazz Guitar See acast.com/privacy for privacy and opt-out information.

Hey, this is Warren wolf for two minute jazz and I'm here to talk about differences between using the major blue scale and the real blue scale. So, what you're hearing is basically the first one. You're hearing like a F pentatonic scale but you can always make it a little bit bluesier it just takes the third the A and drop it down to A flat.Then go to the third, the fifth to the sixth or 13th back to the root. But the one I like to do, we take the root take the third drop it half step the fourth, the eleventh. now here's the sharp eleven. Five, flat seven back to the root. So you have a choice to use between that one, what a regular blues scale and after that you know that's when you start using different rhythms.So here's one course of blues using the first example I gave you.One, two, a one, two, three.And here's one more course using: one, two, a one, two, three. And here's one more course just combining the two so you can really get that true blues effect. One two, one two three.======================================================Check out Warren's Improvisation for All at Open Studio: https://www.openstudionetwork.com/project/ifa-overview/ See acast.com/privacy for privacy and opt-out information.

Ulysses Owens Jr. demonstrates some sweet ideas using a 5 stroke roll.===================================================================================(rhythmic drumming) It's Ulysses Owens Jr. With "Two Minute Jazz." Having fun with rudiments: I'm taking a really cool rudiment by the name of "Five Stroke Roll." One two three four five. (rhythmic drumming) And having fun with it, taking it around the kit. A lot of times as young drummers, even older drummers, experienced drummers, whatever part of the drummer thing you fall into, we all get bored and we wonder, man what do I do with these rudiments? Especially the 28 Essential Rudiments. So one of those 28 Essential Rudiments being the "Five Stroke." Like how do I move that around the kit? Once I've learned it what do I do with it? So I like to explore and experiment and I'm gonna do that right now with the rudiment. So I will play it for you again.(rhythmic drumming) A little faster.(frantic drumming)You can try different things like: (rhythmic drumming) Five stroke roll. Take it around the kit, play it with the cymbals. Play it in any way you want. Just keep moving forward with it. Create a continual rhythm around it. Create continual phrases andfills and setups around it, but just keep pushing the boundaries and using that rudiment, and never tiring of it, and figuring out how can you explore and have fun with it. So(rhythmic drumming) Have fun with the rudiments.===================================================================================For full comprehensive courses from Ulysses Owens, check out Finding Your Beat at Open Studio today. ---> Watch on YouTube See acast.com/privacy for privacy and opt-out information.

One of the keys to putting together a good bass line is making sure they’re linear - meaning that they don’t jump around and skip around a lot.You don’t want to put together a walking bass line where you kind of like — [whack, non-linear bass lines] —I’ve actually heard some bass players do that. I really have. It’s not good.Keep you lines so they go just like this – up and down hill, up and down hill.If you want to break it up a little bit, make sure there’s a pattern inside of what you’re doing so it makes some sense.-- [non-whack, nice bass line} --I’ll break it up a little bit.-- [more nice walking lines] --Even when I’m making the jump, I keep it linear from there.==================================================Check out all the available full-length bass courses at Open Studio: https://www.openstudionetwork.com/bass See acast.com/privacy for privacy and opt-out information.