Just a quick post to mention the hybrid picking exercise I've been working on for the past few days. I'm actually playing different variations on this up and down but I'm sure you can figure those out for yourself.

I've been revisiting some old jazz tunes lately and, yet again, remembered how hard Monk's tune Epistrophy makes you think. In this post I'm going to describe some approaches that try to avoid "running the changes" and instead find scales that "work" over whole sections of the tune.

Something a bit different this time -- I've collected a few instructional videos for pianists that I think guitarists could learn a lot from.

I've decided to make the electronic version of my book on scales and arpeggios available free to download, forever, under a Creative Commons license. The paper version is still available to buy as normal.

I've put up two new audio-only tracks on YouTube demonstrating different approaches to outside playing.

I've created a video for my piece "New Work VI" and uploaded it to YouTube. I'm hoping this will be the first of quite a few as I'm enjoying playing with the video side of things and it's inspiring me to finish some pieces that have been languising for a while.

I've gathered up the electronic pieces I wrote over the last year or so and pulled them together into an album, entitled New Work. I've also put together Phi Point, a collection of archive recordings that are now unavailable and of which I'm still fond. Both are free to stream or download.

We've looked at basic definitions and set out a numbering system for pitch classes that does what we want. Now it's time to see how powerful these ideas can be from an analytical perspective, and to develop some more ideas and techniques along the way.

As you probably already know, the great Don Van Vliet passed away on Friday. If you don't know his music you can and should start searching YouTube or Spotify or whatever you preferred source of such things is and check it out.

I first heard about a technique called "side-slipping" in David Liebman's inspirational book A Chromatic Approach to Jazz Harmony and Melody. My recent interest in the coscale relationship led me back to it, since both involve, at least initially, working with "scales" that have no root notes.