~ SONGS ~

'conquer fears of playing the melody and super charge expressiveness simply by playing the melodies we already know ...'

in a nutshell / heart, minds and hands
picking out a melody by ear
12 key melodies
arpeggio melodies
songs for kids
sing and play
octave intervals
improv
telling stories
phrasing
reading notation

~ getting our melodies to swing ~

~

 

In a nutshell. An easy and often rather quick way to advance our joy in music is to sound out the melody of a song. As guitarists, the idea here is to create a solid, three way connect between our hearts, minds and hands. Meaning we can go through our brains to rote learn one melody. We jump start this process if necessary with just a couple of pitches, with a melody we learned as kids.

rote learning
wiki ~ the brain

There's 30 or so inclueded below to help find one. Pick one, play it by rote the way you know it. Use the included chart and audio to smooth it out if needed. Really get it solid under your fingers and musical, whatever that means to you. Then get the line swing by finding its 2 and 4 pulse with a metronome. From there on it's about what you bring to this melody today for chances it'll be different everytime you coax it forth. And that's just one of a dozen songs you'll know from the setlist to follow up with.

rote learning
wiki ~ the brain

Only really takes one. While hopefully there are a dozen or so melodies included here that you know, it really only takes one song to begin to puzzle the pieces of how to 'play by ear' into place within each of us. Once in place we can proceed by our own gumptions and there's no real limit to our development. So we simply need to find one melody that might go all the way back in our memories and musically master all the juices that it may conjure up and encompass.

That a lot of blues cats will wring a whole bunch of coolness out of even just one pitch should tell us how valid and effective this simplistic pedagogical approach can be. Can we somehow infuse a greater sense of joy through a different articulation of the pitches discovered by singing the idea the finding on our guitars?

So the strengthening of this emotional to physical conduit is the goal here. It's understanding and capturing the magic of a melody that we seek to master. So we start simply to have some fun. And if we can do it with just one or a couple of pitches, we've then anatomically begun to connect the 'play by ear' dots, which over time and with shedding, becomes our own unique and natural way of melodic expression with any sort of melody we choose to interpret. Cool? Artistic signature? Yep.

One scale shape. Most of the following melodies are extracted from the following scale shape and group of pitches. Look familiar? Cool or learn it here if need be. As most of the songs which follow are in C major, the tab notation in the following written examples uses this one transposable shape, a true super wonder for guitarists. Example 1.

scale shapes
group of pitches
transpose

So find a line. So the following learning method is created by two main ingredients; our own personal music experiences and American melodies that have been around for a long while; the melodies that pass from generation to generation that carry forward the philosophical and historical Americana spirit within.

Most of the following come from Let Music Ring, a music curriculum series that was used in America's public schools during the last century. So is this the classroom text used by dedicated teachers to instruct so many of our national music heroes? Yep them be the cats. So pick and click and off ya go ... just to pick and click and off ya go :)

national music heroes
a Vaudville gag line CGAbGBC / old Mac is a right hand picking exercisef
kid's song / It's Raining It's Pouring
kid's song / B I N G O
Mercy Chain Gang
The Sidewalks Of New York

 

Starting strong. Whatever melodys we decide to play, starting stong is all about making sure we are totally down with knowing by rote the first real note of the melody. Where it is on the neck, what it is in theory, letter name, all of it. For hands down this makes all the difference in getting over any fears of playing the melody. And for those so inclined, eventually this simple start can evolve a love to know the theory of it all.

"The Saint Go Marching In." This first melody is truly classic Americana. Mostly associated as a jazz melody and linear in shape, we get an original source for the essential 'big 4', four quarter notes pounding out the beat for the on parade band to step lively to. The swing is built right in. Recorded by dozens of top stars over the all decades, Louis Armstrong, who probably wrote it :), taught us all how we might swing with this melody. So grab your horn and join along and learn this song by rote. Once mastered, get Franz on 2 and 4 and find the pull of the swing. The opening lick is an easy sequence. First pitch? 'C' of course :) Hipsters will run it through the 12 major keys. Example 1.

'The Saints'
linear shaped
original Americana big 4
Louis Armstrong
2 and 4 / pull of swing
hipsters / 12 keys
jacmuse
 

"It's Raining It's Pouring." The last melody included here is among the first ones I ever learned as a kid, so a good one to find the pitches of again as a rote learner line. Just a good one for a run at a five shape key center warmup then maybe even through all 12 major keys. Example 25.

 
 

"Mercy Chain Gang." The last melody included here is among the first ones I ever learned as a kid, so a good one to find the pitches of again as a rote learner line. Just a good one for a run at a five shape key center warmup then maybe even through all 12 major keys. Example 25.

 

"America The Beautiful." This first melody is truly classic Americana. Mostly associated as a jazz melody and linear in shape, we get an original source for the essential 'big 4', four quarter notes pounding out the beat for the on parade band to step lively to. The swing is built right in. Recorded by dozens of top stars over the all decades, Louis Armstrong, who probably wrote it, taught us all how to swing with this melody. So grab your horn and join along and learn this song by rote. Once mastered, get Franz on 2 and 4 and find the pull of the swing. The opening lick is an easy sequence. Hipsters will run it through the 12 major keys. Ex. 1.

'The Saints'
linear shaped
original Americana big 4
Louis Armstrong
2 and 4 / pull of swing
hipsters / 12 keys
jacmuse
 

"This Old Man." This classic melody might be among the first we as kids might ever learn growing up in here America. And if there was ever a melody that we can sing to learn to how to swing, I'd suggest this one first. For if we 'swing when we sing ...' Again the 'big 4' sets the march for big swing, so reminiscent of the wide quarter note swing nightly brought to life for decades by the Count Basie Orchestra. Once the line is mastered, get Franz on 2 and 4 and find the pull of the 'old man's swing. Hipsters of course will run it through the 12 major keys, maybe even write one of their own variations generated from this 12 key shedding. Ya just never know :) Easy easy diatonic idea to sequence in measure six. Example 2.

wiki ~ "This Old Man"
sing when we swing ...
wiki ~ Count Basie
2 and 4 / pull of swing
hipsters / 12 keys
jacmuse

"Oh Shenandoah." T

 

ing. The opening lick is an easy sequence. Hipsters will run it through the 12 major keys. Ex. 1.

original Americana big 4
Louis Armstrong
Franz
2 and 4 / pull of swing
hipsters / 12 keys
jacmuse

"I've Been Working On The Railroad." This classic melody might be another one among the first we as kids. Again the 'big 4' sets the march for big swing for the 'A / B' 32 bar form. Once the line is mastered, get Franz on 2 and 4 and find the swing. Motion to Four in the 5th bar is very common. Hipsters of course will run it through the 12 major keys. Interval of the fourth to start out :) Example 3.

wiki ~ "Working on the Railroad"
hipsters / 12 keys
perfect 4th's
jacmuse

"House Of The Rising Sun." This next melody is as written here pure, five pitch pentatonic minor and goes way back in our musical history. Based on the minor triad, if there was ever a beginning level melody in minor to bring the juice, this could be tops. As a folk / rock ballad, this song went to #1 back in the mid 60's and is a fave of many even today. Learn it here if need be. Again, through the 12 keys minor for the hipsters. Oh, if a song once went to #1 on the charts as this one did, might it do so again? Example 4.

minor pentatonic
minor triad
ballad
#1
jacmuse

"Kumbaya." Well ya probably knew this melody would be here yes? Got to have one campfire tune that everyone knows in the mix right? Really just a great line that really shows the strength of the major triad to kick things off. There's the classic Four to Three melodic suspension and no leading tone. Probably could work in a shred metal format also. Hipsters through the 12 keys. Just a note, tis an amazing thing the 'arms around the theory perspective' of our music, one's chosen instrument and facility with pitch, when this sort of melody is mastered by rote and with some feeling, through all the 12 major keys. Even if done just one time in one practice session ... just saying. Example 5.

major triad
jacmuse

"Swing Low Sweet Chariot." This next melody is really just pure Americana gospel. Mostly major pentatonic with an added Four pitch, the absence of the leading tone in the line seems to bring on the spell of Americana gospel. As this song creates a lovely chord melody arrangement, without doubt we need the leading tone pitch, a B natural, to make up a Five (V) chord, it is just not in this melody. Sans leading tone = gospel butter. Also a big swing feel is built right into the line. More Americana magic? Pretty much. Here's the line, learn it here and now if need be. Just an old time Americana gem that brings the inspiration. Example 6.

wiki "Swing Low Sweet Chariot"
leading tone 7
B natural
Five
big swing

"She'll Be Coming 'Round The Mountain." Man what a tune ! Old as the hills ! Straight quarter note figure of the big 4 insures the wide Americana swing potential. Surely one that Louis, Benny and Charles Christopher learned as kids. They probably played this song in their hometown's Fourth of July parades around about in New Orleans, Chicago and Kansas City.

big 4
Louis, Benny, Charles

Just imagine a young Charlie with this by rote line under his fingers marching down the avenue all uniformed up with his pals and just having the time of his life playing his horn for the throng of folks of his hometown cheering them all on as they passed and grew up, year after year after year as their school grades skipped past one by one and they let the music ring. It's no wonder that within a decade or so he was the arpeggio king of the bebop swing.

arpeggio kings

That this melody can really invoke the gallop; that trick of rhythm that sets a musical thing into motion, which really needs to be mastered at some point, maybe do it right now. For like understanding swing, it's very easy. And in practice ... well that's another row to hoe :) For between swing time and the gallop to kick it off lies the vast Americana danceland of the big 4, as happening a groove and pocket as ever filled a dance floor. Here's the line to be rote learned. Eventually all 12 major keys for the hipsters in the room. Example 7.

the gallop
groove / pocket
jacmuse

"Amazing Grace." Gotta go gospel again here to find a gentleness of melody as unsurpassed in tenderness and humility as any maybe ever yet written. The gallop rhythm nudge from just above here written in as the triplet in the very first measure. Purely pentatonic major in its pitches, a perfect balance of four bar call and response phrases becomes an everlasting a gem to be known. Classic example of the role of harmony; there's no fourth scale degree in our melody yet we can clearly go to the Four chord in the third measure. Three chords and the truth do often rule the day, so much for theory rules in Americana musics. Example 8.

triplet
major pentatonic
scale degree
Four
three chords and the truth
theory rules

"Go Down Moses." Just a classic melody in the minor tonality. The opening leap of the minor 6th sets the perfect mood for the longing message of freedom. I learned this song back in elementary school, probably sang it with gusto and parodied it a million times since. Big quarter note swing is built right in and we get leading tone 7th from the harmonic minor to boot. Here in E minor, these are some powerful pitches. Find them and learn by rote and they are yours forever. Example 9.

minor tonality
minor 6th
parody
leading tone 7th
jacmuse

"St. Thomas." This next melody is mostly known today as a jazz melody. Made popular by tenor saxophonist Sonny Rollins in the mid 50's, St. Thomas is the quite lovely compositional example of a perfectly balanced set of four, four bar phrases set into the call and response format that structures so many of our coolest and most historically popular Americana melodies. The last phrase, even without accompanying harmonies, is quite remarkable in its simplicity and perfect cadential closure of pitches. A joyous melody that just has the dance built right in, St. Thomas brings the natural merge of quarter note swing and the Latin sense of things. Written here in four, it is easily felt in the '2 feel' of the samba. Ex. 10.

call and response
cadential closure
built in dance
a '2 feel'
jacmuse

"Scarborough Fair." This next melody is a classic folk melody in the minor key. With a true hint of the Dorian mode in measure 7, just a lovely and balanced line. Three phrases combine with a repeat of the first to close the melody form the 16 bars of the song. Quite a big hit for Simon and Garfunkel in the 60's, "Scarborough Fair" has long long been a favorite of many. Make it one of yours perhaps or get it under your fingers to quote somewhere along your melody way. The harmony is trick and negotiable, do find other versions to help create your own arrangement. Example 11.

wiki ~ "Scarborough Fair"
Dorian mode
wiki ~ Simon and Garfunkel

"Billy Boy." This next melody might be known today mostly as a nursery rhyme. Energized by the 'big 4' beat, we gain the big swing potential. In one sense two eight bar phrases, in its form it becomes a sort of 'mini 32 bar A B' song form which bases a gillion tunes. "Billy Boy" is included as a piano trio arrangement by pianist Red Garland on a recording often considered to be among America's greatest jazz albums, titled 'Milestones' by the Miles Davis Sextet recorded in 1958. Mr. Garland's own 'two fisted' chordal block styling recreates this children's melody with a seemingly bottomless sense of swing. Learn it hear if need be. Example 12.

'big 4'
A B form
jacmuse

"Greensleeves / a ballad." This next melody goes all the way back to our Americana origins when they were being formulated across the pond so to speak during the Elizabethan era in merry old England. In this melody we see the pitches of the 'theory gray area' that resides between between the diatonic relative major and minor grouping of pitches, as we borrow pitches from major to sure up (?) the cadential motions in minor, found at the close of each eight bar phrase. Clearly a two theme song that balances the yin / yang of major minor, which forms the basis of so many great compositions. We start out in minor, modulate to major and return to minor to close the song. Surprisingly (?) that there's no Picardy 3rd written to close the line. Example 13.

wiki ~ "Greensleeves"
wiki ~ Elizabethan era
Picardy 3rd
jacmuse

"La Cucaracha." We head for the Southern border to find this next melody. How is it that a couple of pitches in a rhythm can so quickly evoke a cultural source and inspiration? The opening lick is simply major triad who's pitches have been juxtaposed 5, root, 3, generating a lot of lift to start the line. The second line starts with the major triad built on Five. Have all the pitches of the diatonic major scale but Six ... this might be a first. In this arrangement, two four bar phrases perfectly balanced as a call and response. Example 14.

lick
Five
Six
four bar phrase
call and response
jacmuse

"Shady Grove." We head for the Southern border to find this next melody. How is itxample 14.

lick
Five
Six
four bar phrase
call and response
jacmuse
 

"Arkansas Traveler." We head for the Southern border to find this next melody. How is itxample 14.

lick
Five
Six
four bar phrase
call and response
jacmuse
 

"Oh Susanna." This first melody is really classic Americana. Again we feel the jaunty American musical flavor of early Americana created by the major pentatonic group of pitches. In this melody we find a sixth pitch, the essential Four, which opens the second half of the tune. Written by American composer Stephen Foster, his song has been recorded by dozens of top stars over more recent decades. The arrangement by folk / pop artist James Taylor is a wonderful example of diatonic harmonies and passing chords covering a classic Americana melody. "Oh! Su ann a" also makes for a great bluegrass melody and vocal song in a brighter tempos, surely one everyone in the audience should know. The offbeat rhythm comping style of 'one chuck two chuck' works perfect behind this line. Written here in an A A B form, two verses then the chorus. Ex 15.

diatonic harmonies
passing chords
A A B
verse
comping
chorus
jacmuse

"The Sidewalks Of New York." Thi

le of 'one chuck two chuck' works perfect behind this line. Written here in an A A B form, two verses then the chorus. Ex 15.

diatonic harmonies
passing chords
A A B
verse
comping
chorus
jacmuse
 

"Take Me Out To The Ball Game." This melody is really classic Americana as it is part of the tradition of the sporting game developed in America originating here in 1850's. Written in lolly gagging sort of 3/4 waltz time, suggestive of a relaxed afternoon spent out of doors among friends, the melody line opens with an octave interval leap, our theory interval king if you will, that bases our whole system of music theory both art and science. This melody is probably among the best known lines in all of America today, for millions of baseball fans sing it every summer during the '7th inning stretch.' So if needed, do learn it here by rote, finding its pitches by simply singing the melody and finding the pitches on your instrument. For this is the basic process of rote learning. Having a chart is always handy too. While mostly diatonic in its pitches, there's a beginning hint of chromaticism that adds interest and opens up some room for the 'V7 of __ ' motions that's a basis not only of the harmonic evolutions between musical styles but also character of early Americana harmonies from ragtime and forward to modern times. Example 16.

the octave interval
art
science
learn by rote
chart
chromaticism
cycles of V7
jacmuse

"When Irish Eyes Are Smiling." This lovely major triad based melody has a built in smile as its title implies. Written in a perfect A B 32 bar form, the opening idea is restated in the second 16 implying a solid cadential motion to bring the line to conclusion. Recorded by many top stars along the way, an easy quote to bring the 'smile' to other songs too. Example 17.

major triad
A B 32 bar form
cadential motions
quote
jacmuse

"Michael Rowed The Boat Ashore." This next melody is also really classic Americana and went #1 hit in 1961. Spiritual in nature, again our melody starts off with the pitches of the major triad. Again we see the pentatonic five enlarged to include Four, while Seven is not present. Just a super nice example of the balance of two four bar phrases. The first ending up on Five, the second closing home on One. Example 18.

jacmuse

"Old Joe Clark." This next melody is as 'old as the hills' I'd imagine. A transplant from the old Euro country to our new Amer country probably during the early 19th century. "Old Joe Clark" is more old 'timey' or bluegrass today than true folk depending on the players I guess. What is super clear in its pitches, intervals and their sounding is the Mixolydian grouping of the pitches creating this classic Americana sound. Here we see in the following arrangement the 2/4 time signature and its 1/8 note magic, that becomes the 'lingua franca' of true swingsters for the last 100 years or so. Note the same initial melodic idea in the first four bar phrase as in the second, which ends a bit different creating a sense of closure to the line. but as the seconExample 19.

second ending

"Yankee Doodle Dandy." Surely into the wayback to find this melody, back to when the American dream was still just a dream and the folks on the scene were working very hard to bring it all about. Again the super quarter note march brings the swing right near to our fingertips yet again. A totally diatonic Ionian major sale group of pitches which creates this idea. Learn it all right here if needed and all 12 keys for those who can. Ex.20.

the wayback
diatonic
Ionian
jacmuse

"Yellow Rose Of Texas." This song and melody turns out to be as perfect in combining four bar phrases as any we might have. Again using the full compliment of the seven pitches of the major scale, combined with the quarter note feel captures the early style and sounds of the American West era. The diatonic interval leap of a sixth in bar 13 a common and solid way of energizing a cadential motion a melody back to close upon its tonic pitch. Easy to imagine a bit of added drum cadence after the last pitch. Learn it hear if need be. Example 21.

interval leap
cadential motions
tonic pitch

"The John B Sails." This next melody originally is a folk song originating in the Bahamas probably during the 19th century to be discovered and recorded in the 20th. With the wide diatonic interval leap from Five up to Three to start us off, our rhythms set up an off beat pulse that consistently creates the forward motion for the melody phrasing. This offbeat feel is a mainstay of what Latin rhythms bring to the American musical pie, the core of these offbeat rhythms helping to create a new focus on the second and fourth beats. So ... 2 and 4? Yep, 2 and 4, the backbeat that powers most Americana. The song got into the top 10 in 1965 for the Beach Boys, West Coast group that featured so hair raising vocal harmonies. A total diatonic major scale gem of a line. Example 22.

jacmuse

"Careless Love." This next melody takes us back to the dawn of the 20th century where it was a favorite song for New Orleans musicians. These origins making it possibly one of our first jazz compositions that got played a lot. With its diatonic major scale basis, two eight bar phrases and a written in chromaticism giving us some of the true blue hue itself. The song closes with a sequential off beat lick repeated three times before closing the line. This 'three times and out' probably the most common of our negotiated endings. Example 23.

wiki ~ "Careless Love"
 
 
 
 

"Rolling In My Sweet Baby's Arms." The penultimate melody included here is among the first ones I ever learned as a kid, so a good one to find the pitches of again as a rote learner line. A good melody to locate through the five shapes over the fingerboard. Then perhaps as a key center warmup by finding the line through all 12 major keys. For if we can locate melodies that go all the way back inour memories and make them truely musical to our artistic interpretation, chances are we'll strengthen these abilities to any of the melodies we choose to interpret. Example 24.

"The Star Spangled Banner." Our final melody to include here is of course our own Americana national anthem. Major scale and surely major triad based, we consistently see the raised Four to Five melodic motion in the melody. A solid 32 bar song form and structure, four / eight bar phrases combine to create a passionate story and all in all a well crafted song that truly inspires. Of all of the songs included here, the "Star Spangled Banner" offers a fairly challenging line pitchwise with some historical phrasing ideas that will strengthen our own interpretive powers once the pitches and rhythms are solidly under our fingers. Learn it here if need be. Example 25.

Thus in our collaborative thought process of soloing and support we all get to improvise together. Is this part of the magic that has enthralled folks since it all began? It sure is. That a part of the music they are hearing is being made up brand new right then and there just for them makes it special. And for the dancers in attendence? Probably, for through their aural process they too can enter into this collective improv dynamic to improvise their own vision of the musical story being told through their body movement to the pulse of time.

wiki ~ Jimi at Woodstock
the dancers
 

Warming up. For the advancing and dedicated to getting better guitar players reading here are included are three ideas from the literature. Any who play their sport know the value of warming up their strengths prior to taking the field.

Patterns, shapes and eight notes.

Mind and body into hearts and hands.

Playing through changes.

Cycles of things / chops.

Simple melodies through 12 keys. like to quote

provide background
 

Warming up rhythms. Emily R metronome page

or the advancing and dedicated to getting better guitar players reading here are included are three ideas from the literature. Any who play their sport know the value of warming up their strengths prior to taking the field.

Patterns, shapes and eight notes.

Mind and body into hearts and hands.

Playing through changes.

Cycles of things / chops.

Simple melodies through 12 keys. like to quote

provide background

Review. Were you able to find a melody or two to rote learn in the basic scale shape fingering suggested? Sense that once the pitches of a scale shape are under our fingers, that a melody is just a thought or two away? Cool, for that's the crux of this page; find a melody we deeply know in our hearts, find the pitches on our instruments, then simply work it over and over to strengthen our ability to impart our emotional and artistic ideas into the pitches of its melody. This is the basic physical / intellectual musical connectivity that founds our own unique improvisations, creative expressions to develop our artistic signature.

"Always think different from the next person ... don't ever do a song as you heard somebody else do it."

Otis Redding

"I'm very good at knowing what I don't know."

Derek Jeter

Footnotes:

(1)Mauleon-Santana, Rebeca. 101Montunos, p. iv. USA Sher Music Co.,Ca. 1999

(1) Isacoff, Stuart. Temperament ... The Idea That Solved Music's Greatest Riddle, p. 40-42. USA Alfred A. Knopf, New York. 2001

Why learn themes? From the old as the hills artistic technique often termed 'a theme and its variations', an artistic concept and philosophy which also applies to many of our art disciplines; musics, sculpting, painting, writing etc., this theme and variations is the basis of so much of what American improv is about, where the music being performed is played by ear. That traditionally our musics are not being read as notation from charts as they are being performed.

theme and variations

Through folk and into the blues, onto the various rocks, countries and myriad of pop stylings, once the theme is stated, soloists often get to 'variate' and create their own 'take' of the melody. When happening in real time with spontaneous or already worked out ideas, most is played by ear and improv is happening.

improv

Jazz players often get a further valence for exploration here in that the chord progression of the song provides a second vehicle for the improv. Artists will 'spell' the pitches of each chord into melodic lines. That each of the chords can become a 'mini theme' of their own, offering a something to variate. Historically, arpeggios have played an oversized role in this approach to the improv. Mix in chord substitution here, a common occurrence in jazz performance, and we can end up with a ton of resource to choose from in creating our play by ear variations.

valence
chord progressions
arpeggios
arpeggio kings
chord substitution

Another important aspect of this 'play by ear' discussion is about rhythms and specifically developing one's own ability to swing. In the following method, we look to some historically deep Americana melodies, some that might take us back to our childhoods, for melodies that we might already intuitively know by heart and rote. Once under our fingers, we've then got the necessary ingredients to work on its timing and to get the line to swing. The idea here is that by getting one of these phrases truly 'up off the ground' and swinging, we've connected the inner dots of swing between our heads, hearts and hands and can then apply this magic of time and space to whatever might come along.

So what follows are a dozen or so melody lines that are suggested to be played by ear to figured out, then committed to rote memory. Once there by rote, our individual interpretations begin anew. And though we might not ever gig these sorts of lines depending on our own artistic directions, in practice they'll strengthen our melodic confidence to interpret melodies and project the emotional statement we're looking to make.

rote memory
(2)Aebersold, Jamey and Slone, Ken. The Charlie Parker Omnibook. New York: Atlantic Music Corp., 1978.

~ songs ~

~ diatonic melodies ~

~ songs in a major key ~

~ songs in a minor key~

~ songs for kids ~

~ getting our melodies to swing ~

in a nutshell
picking out a melody
12 key melodies
arpeggio melodies
songs for kids
 
 
 
 
 
 
 
 
 
 
 
 

 

picking out a melody / method
12 key melodies
sing and play
original architecture
melodies with octave intervals
if you learn 'em all by ear ... :)
blues melodies
improv
telling stories
diatonic cycles

 

~ learn a song ~

~ heart and hands ~

~ sing and play ~

~ phrasing ~

~ then to play by ear ~

~ learn to read notation ~

~ theme and variations ~

~ warm up ~

'conquer any fears of melody and super charge the expressiveness of jamms and improvs by simply playing melodies ... the ones we already know ...'