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F or many years, I have taken  issue with the notion (held by  some) that consonance—the  absence of musical tension— equates to combinations of pleasant and  agreeable musical sounds, while dissonance—the  presence of musical tension—equates to combinations  of unpleasant and disagreeable musical sounds. It is  a...

This is Part 2 of a response that began in the Nov/Dec 2017 issue of Clavier Companion.   Q. This is the time of year when high school students are considering college and preparing for auditions. As a music administrator, do you have any suggestions for me and/or my students that would help us make good decisions? ​ Make music alone and with ...

Any musical composition may be analyzed from the perspective of attempting to reveal its various facets of unity and variety . A work may often prove to be satisfying to the listener when these elements are in judicious balance. Notwithstanding that, however, the predominant features of any given musical masterpiece are unquestionably the work...

Like language students who have memorized vocabulary but are not yet conversant, pianists who have learned to construct chords may not yet be "chord fluent." So how do we help our students move beyond music theory worksheets to being able to interpret chord symbols and identify underlying harmonies in literature more easily? One approach involves a...

Much to my pleasure (and astonishment!), a number of my students signed up to take theory tests at the National Federation of Music Clubs (NFMC) local festival. None of these students owns a theory book. The NFMC Bulletin provides an outline of concepts covered in each test level, as well as practice tests from prior years. From the online bul...

Developing technical skills builds strong players. Working  through technical challenges can be more beneficial when combined with theory concepts and exponentially more engaging when locked into a groove. Fellow Clavier Companion contributor and improvisation specialist Bradley Sowash recommends developing scale playing with backing tracks th...

​Major and minor. Together these form a basic polarity in Western music. Major scales and chords are usually characterized as "happy," while minor ones are saddled with the label "sad." After composing, improvising, arranging, and teaching for more than forty years with these musical materials, I have come to a different way of understanding them. ...

​Recognizing chord symbols is one of the biggest obstacles faced by beginning improvisers learning to play from lead sheets. Just as foreign language students write conjugations to become better speakers, pianists can improve their chord fluency with pencil practice away from the piano. Writing chords by key Follow these steps together with your st...

​Today's jazz pianists learn to play within many different contexts. They might find themselves in a big band, a combo, or by themselves as keyboard soloists. As soloists, they must supply the harmony, rhythm, and melody while only being given a lead sheet version of a song as a guide. At the professional level, this skill can be quite complex. How...

For the past quarter century I have conducted piano teacher workshops throughout the United States and  Canada. Teachers always have a lot of great questions, and one of the most frequently asked questions is "What is a jazz suspension ?" Jazz suspensions in general are bridges to somewhere, at least usually. Suspensions are chord tension-tone...