2 Minute Jazz

Peter Martin shows you how to fix three common mistakes people make when playing Wayne Shorter's classic standard "Footprints." Checkout Peter's top-rated jazz music podcast with Adam Maness: You'll Hear It 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. Visit: https://www.openstudiojazz.com Facebook Instagram Twitter

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.com Facebook: https://www.facebook.com/HeyOpenStudio Instagram: https://www.instagram.com/heyopenstudio Twitter: 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.com Facebook: https://www.facebook.com/HeyOpenStudio Instagram: https://www.instagram.com/heyopenstudio Twitter: 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.com Facebook: https://www.facebook.com/HeyOpenStudio Instagram: https://www.instagram.com/heyopenstudio Twitter: https://twitter.com/HeyOpenStudio See acast.com/privacy for privacy and opt-out information.