Jingle Bells

Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. Today is tune Tuesday. And before I go any further, I know exactly what you're thinking. You're thinking, Hey, Doc, last week was tuned Tuesday. Today is supposed to be theory Tuesday. And I would have to totally concur with you. However, Friday is Christmas. And I cannot let it come and go without us taking the time to discover, learn and play a Christmas tune. After all, there are some fantastic Christmas tunes that we should have under our fingers. And the tune we are going to explore today is certainly one of those tunes. What the heck, we should all be able to play Jingle bells, quite possibly the most popular Christmas song of all time. It's definitely hard to find a Christmas tune more identifiable by people of all ages. Other than Jingle Bells. I actually did a little research on Jingle Bells this past week, and was totally blown away with some of the facts that I discovered. Check this out. Jingle Bells was first performed on September 15. Eat teen 57 September 15 1857. And it was originally copyrighted with the name the one horse open sleigh on September 16 1857. Here's another interesting little fact about Jingle Bells. It originally had no connection to Christmas at all. In fact, it had been claimed that it was originally written to be sung by either a Sunday school choir or to be sung as a drinking song. I'm not sure how all that works, how those two go together. But that is interesting, right? Nevertheless, here's another here's another great little fact about Jingle Bells. Music historian James fault. notes that the word jingle in the title and opening phrase. It is apparently an imperative verb. It tells or commands someone to do something in the winter in New England. In pre automobile days. It was common to adorn horses harnesses the harnesses of horses with straps bearing bells, as a way to avoid collision. collisions at blind intersections, since a horse drawn sleigh and snow makes almost zero noise. The rhythm of the tune mimics that of a trotting horses bells. However, Jingle Bells is commonly taken to mean a certain kind of bell. That's interesting, isn't it? Check this out Jingle Bells was first recorded by will while on October 30 1889 on an Edison cylinder. But unfortunately, there are no surviving kaput copies of that recording today. That's that's a bummer. In 1943 Bing Crosby and the Andrews Sisters Come on. We've all heard this version right. Bing Crosby in the Andrews Sisters recorded Jingle Bells which reached number 19 on the charts and sold over a million copies. In 1941, Glenn Miller and his orchestra with text minipci and the modern airs on vocals, had a number five hit with Jingle Bells. In 1935 Benny Goodman in his orchestra reached number 18 on the charts with their recording of jingle bell Check this out in 1951 a bit you didn't know this 1951 Les Paul had a number 10 hit with a multitrack version on guitar. Jingle Bells was the first song broadcast. Are you ready for this? Jingle Bells was the first song broadcast from space. And a Christmas theme prank by the Gemini six astronauts. That's amazing. And number 10 drumroll please. Number 10. The first notes in the chorus of Jingle Bells have become a motif that has been inserted into countless recordings of other Christmas songs. Come on, right you hear that all the time. White Christmas starting with Jingle Bells are ending with Jingle Bells. Have yourself a merry little Christmas starting with Jingle Bells are ending which Jingle Bells right, you hear that little motif that little quote all over the place. With all of that being said, I thought it would be great fun today to look at Jingle Bells to see what we can do to spruce up this Christmas classic by adding a significant jazz facelift to the standard chord changes, which are pretty basic, right? They're pretty much one, four and five. So let's see what we can do today with these chord changes to give it a little jazz of grade if you will. But before we jump into discover learning play Jingle Bells. I want to take a second here at the beginning of this jazz piano lesson to personally invite all new first time listeners and old timers to join jazz piano skills. Simply go to jazz piano skills calm select a membership plan, click on the join link. And welcome to the family. It's that easy. As a jazz piano skills member, you will have instant and full access to all of the educational content, resources and support educational content and resources that are continually growing each and every week. 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Alright, let's dive into tune Tuesday. Let's dive in to Jingle Bells. Today you are going to discover the classic Christmas standard Jingle Bells. You're going to learn how to modify the greeting chord progression of jingle bells in a jazz tradition and you are going to play Jingle Bells using various 251 progressions. So regardless of where you are in your jazz journey, a beginner and intermediate player and advanced player or even if you are inexperienced professional, you are going to find this jazz piano skills podcast lesson, exploring Jingle Bells to be very beneficial. To begin, I need all jazz piano skills members right now to pause this episode. And as always take a few minutes and print the podcast guides, the illustrations and the lead sheets. Make sure your printer trays loaded. There's quite a bit again this week to print always important to have these in front of you. As I stress every week as we go through the lesson. I always say that that a picture's worth 1000 words right As the old saying goes. And the illustrations lead sheets, along with the play alongs that I produced for each jazz piano skills podcast episode are designed specifically to illuminate various aspects of the essential jazz piano skills that we are about to explore. Okay, now that you have the podcast guides in front of you, I want to walk you through them. Let's begin as always with the illustrations. There are 13 keyboard illustrations, one for each chord found in our reharmonization of Jingle Bells. With each one of the keyboard illustrations I have mapped out the appropriate scale and arpeggio for each chord. I want you to notice that the scales as always, I notate using the orange axis, right. And you'll also see that the arpeggios are marked with the green O's. So again, basically what you have in front of you, as I like to say are the X's and O's of Jingle Bells. And not only that you now have in your hands a viable blueprint to use that you should use absolutely use for mapping out the chord scale arpeggio relationships of any tune that you are truly wanting to learn, not just kind of know, but you truly want to learn. And I stress this all the time there is a huge difference when it comes to tune study, which I think you already know there's a huge difference between kind of memorizing the chord changes of a song and learning a tune, there's a huge difference. You'll also notice that I've included the academic mode name for each scales so you can identify the origins of each scale. For each court. It's always nice to know where the chords are coming from. So you can validate the scale choice selected for improvising. In other words, you know it's legit. Finally, I have included 10 essential tips to help you efficiently and effectively study and practice Jingle Bells. I want you to I want you to spend time with these illustrations at and away from the piano. In fact, I strongly encourage you to do just that. Spend time with them at and away from the piano. Definitely have them at your fingertips and within eyesight while practicing at the piano. right but use these illustrations as a quick reference. They will help you maintain focus and save you a ton of time. And yes frustration when you are dissecting and studying Jingle Bells. Okay, that is a quick run through the illustrations. Now, let's take a look at the lead sheets. There are 15 lead sheets. The first five deal with melody chords function left hand shell voicings and two handed voicings. The remaining 10 are exercise exercises to help you focus on specific aspects of Jingle Bells when practicing. Okay, so the first lead sheet is is jingle bells and I have notated the melody very simplistically for study purposes only. And remember when you play melodies, you play them like you're singing them and not like you're reading them. If you read Jingle Bells like I have written on that lead sheet. Yeah, yeah, it's Not going to sound good, right? It's it's basic. It's kind of a skeleton skeleton outline of, here's the bare bones jingle jingle bells, right? You have to do something rhythmically with that melody. Okay, so it's just there as a little guide. Remember, a lead sheet is not intended to be treated like a classical piece of music where you play every where you play every note as melodically and rhythmically written. Okay. Alright, the second lead sheet is simply the chord changes of Jingle Bells. The third lead sheet gives you the harmonic function of each chord within Jingle Bells. The fourth lead sheet, I give you some left hand shell voicings takes experiment when playing the melody in your right hand. And the fifth lead sheet, I give you the two handed voicings that I am going to be playing today, and all of the demos, spend time with these first five lead sheets, not only to help you learn Jingle bells, but to help you begin formulating a legitimate process of truly studying and learning tunes. Get in the habit of producing these types of lead sheets for yourself. For every tune you are wanting to discover, learn and play. Now, the next 10 lead sheets give you the jingle bells exercises that I will be playing today. I want you to notice how the exercises are labeled for example, exercise one and exercise 1.1 exercise to exercise to dot two and so on. Is it 1.1 or is it 1.1 point whatever right. So I have like exercise one exercise 1.1 exercise to exercise 2.2 and so on. So okay, you'll notice the first one of each exercise pair notates the exercise chord progression only use this lead sheet when practicing your left hand shell voicings and your two handed voicings. I always prefer using lead sheets with chords only. When practicing my voicings, right, this helps me maintain a focus on the voicings, no notes, no rhythms, no additional notation equals no distractions. So use those lead sheets when you're working on your voicings. The second lead sheet of the pair of each set gives you an ascending and descending scale, and arpeggio exercise to apply over the chord progression. I'm going to play through each of these scale and arpeggio exercises today. So you have an idea of how they sound and how you should approach practicing them. I strongly encourage you to have these lead sheets sitting on your piano and ready for action. And as always, I want to encourage you to study the lead sheets where yes away from the piano. I have said this at least a million times to students over the past 30 years. My best practicing has always been done away from the instrument. This is when you can truly sort everything out conceptually and adequately and properly prepare for the physical work you're going to do once you do approach your instrument. Remember, conceptual understanding drives physical development. In short, you cannot play what you do not know it's that simple. So study the illustrations and the lead sheets away from the instrument. I want to also take a second to provide you with some insight regarding the play along so that you can and of course should be using when practicing. There are 72 play along tracks for Jingle bells, six for each key. Okay, the first five play alongs for each key are the exercises that I'm going to be playing today. And the last play along is actually Jingle bells, the to the chord changes that I'm playing today, right using the changes. So all of you jazz Piano skills members Listen up, you have access to these amazing educational resources. All three podcast guides, the illustrations, the lead sheets in the play alongs not only for Jingle bells, but for every podcast episode every week, right? Use them, study them, practice with them, they will maximize your musical and jazz growth. Okay, now that we have gone through the podcast guys, and we have them in front of us. Let's start by listening to Jingle bells, I am going to play it at 160. However, the play along included in your materials is at 140, which is a great tempo to play it if necessary. Well and even if not necessary, I encourage you to practice playing this tune jingle bells and all tunes at slower tempos. I also encourage you to play it at faster temples as well. Always experiment with playing various temples and various groups. It's it's all part of the learning and developmental process. And in doing so, be sure that you embrace your good, your bad, and your ugly. All three, I promise all three will indeed occur. And it's fine. It's okay. it too, is part of the learning and development process. So let me bring the ensemble in. Let's play a few choruses of Jingle Bells. Hopefully, I have a little more good than the bad and the ugly today. So let's check it out. And then we'll talk about it here we go Jingle Bells Now that is a swing and Jingle Bells. As you heard, I'm just playing the chorus today right just the jingle bells part not the Dashing through the snow part, maybe we'll look at that. Maybe we'll look at that next next Christmas because there are some very cool reharmonization we can do with that section as well. But today we are focusing on the 16 measure chorus and as you also heard, I was playing a lot of chord changes many more than just the one four and five chords. So the first thing we are going to do is unpack the changes the progression to see exactly what I am doing. And why in the world does it sound so and as we wade into the weeds today, I know you will have many questions pop up which you should and that is precisely why I am committed to providing all jazz piano skills members immediate and unlimited and personal support. If you are listening to this podcast through the jazz piano skills website, which I hope you are, you can use the extremely convenient speakpipe widget, which is nestled directly beneath the podcast player to send me a voicemail message. It is that easy. It is that simple. One click and the two of us are interacting and engaging with one another. Send me a voice message with your questions and I will send you one back with answers. It's very cool technology. If you're listening on I Heart Radio, Spotify, apple, Pandora, amazon music, or any of the other popular podcast directories, you can just simply use the link speakpipe.com forward slash jazz piano skills. that URL again is speakpipe.com forward slash jazz piano skills. And that will allow you and me to connect as well. As I always say if you are a scaredy cat, and there are some scaredy cats out there, it's okay. If you are afraid to send me a voice message, then you can post your question in the private jazz piano skills forum. And let the jazz piano skills community help you or you can join the Thursday evening masterclass 8pm Central every week, join me online 8pm Central, using the zoom link posted on the jazz piano skills website and get your questions answered face to face. It's fabulous, we would love to see you on line. Bottom line, I provide you with so many ways to get help. So definitely take advantage of the opportunities. As you know, my entire goal is to provide you with the very best jazz piano lessons, the very best jazz piano educational materials, and the very best jazz piano support that's available anywhere today. Okay, grab lead sheet number two, and let's go through these chord changes. We're in the key of F key of F major. So as you can see, we begin with the F major chord and we end with the F major chord. The C seven at the end of the course with parentheses around it is played as a simple turn around. When repeating the form, you do not play that C seven if you are ending the tune, simply play the F major at the end and you're done. Okay. So in measure two, we have a seven, half diminished seven minor seven, flat five or a seven half diminished, go into a 373 dominant seven and then resolving to a six minor. Okay. So basically it's an E minor seven flat five, e half diminished, going to a three dominant and a seven. Heaven resolving to the six minor to D minor. Nice sound, right? Great. So we have kind of a 251 there, right? Like a minor 251. So that that's going to be literally our number one exercise, that's seven minor, seven, flat five, seven half diminished, go into the three seven dominant seven, go into the six minor or the D minor seven. So that minor 251 is going to be our very first exercise. Now let's look at measure three, we begin with a six minor that then goes to a two dominant, which then resolves to five minor. So we have our six minor which is our D minor. That then goes to the to seven which is the G seven which then resolves to a five minor kind of sets us up with kind of a 251 feel but with a little twist at the end instead of going to the C major we go to the C minor. So we get the six minor, the D minor one to that to seven g dominant resolving to a C minor. Really nice. Again 251 progression. It's your classic Major 251 However, instead of ending with a major tonality, it ends with a minor Sound a surprising and nice change for our ears. This is going to be our exercise number two. Okay, now let's start with the five minor, in measure for C minor seven, five minor, the five minor, C minor seven moves to a one, seven, a one dominant, the F dominant, and then resolves to the four major, the B flat major. Now here we have classic harmonic motion. This is, this appears in so many tunes, right? The five minor going to the 171 dominant seven, going to the four major one again, you're probably thinking, wow, that just sounds like a 251. And, and it is, right it's classic harmonic motion, traditional 251 progression, which is going to be our exercise number three. Just a quick side note, do you notice how I'm always thinking in terms of function first, followed by the actual chord changes. The reason for this is because my ears want to hear relationships, my ears can retain relationships, relationships like 251 harmonic function means something to my ears, while C minor seven f dominant seven B flat major seven does not. Unless of course, you have perfect pitch, which I do not. It is so important that you begin looking at and learning tunes based on harmonic function, right Roman numerals. Not only is it great ear training, it will grant you the ability to easily play the tune in any key. Okay, on to measure six, we begin measure six with a three minor seven, flat five or three half diminished, that moves to a six dominant, that then resolves to a two dominant. Okay, so we have a half diminished. There's our three half diminished chord moving to our six dominant our D dominant, which is going to now resolve to a two dominant bout difference sound right? A half diminished, D dominant, g dominant. Again, three half diminished, go into a six dominant go into a two dominant, another 251 relationship that begins as a traditional minor two, five. However, the one is a dominant tonality, another surprise resolution for our ears. This is going to be our exercise number four. Finally, look at measure eight. It begins with the two minor chord, G minor, which is going to take us to the five chord C dominant, which is going to resolve to the one chord, F major. Our classic Finally, our classic 251 within the key, right, G minor, seven, F major. Finally, and this is going to be our exercise number five. The rest of the course the last eight measures repeats this entire series of 251 movement. How cool is this? Five? Count them 5251 progressions within eight measures of music repeated twice. Who knew Jingle Bells was so hip? You just simply wouldn't expect something this hip coming from Jingle bells, would you? You certainly would have no problem discovering something this hip and say, I don't know. Charlie Parker tune like confirmation, but not Jingle Bells. Some of you might be thinking, Wait a minute. I know this progression. I've heard this progression before is Charlie Parker's confirmation. To which I would reply. You are correct. These are the changes to the A section of Charlie Park. occurs conformation, which happens to work beautifully. With the melody of Jingle Bells. Merry Christmas. This is my little Christmas gift for all of you a very hip way to play to breathe new life into the classic Christmas Carol. Jingle Bells. Okay, grab the lead sheets for exercise one of Jingle Bells. And you'll see on the lead sheet I have, it's an eight, measure exercise. First four measures, dealing with scale motion, ascending and descending, right with a Root Entry. And the second four measures deal with arpeggio motion, ascending, descending with Root Entry as well. I want you to notice little notation I put there on measures three and four and measure seven and eight. I said rest and assess before repeating. So those two measures at the end of each line, the scale line, scale motion and the arpeggio motion. Those two measures are a time to assess to rest and assess before repeating, right, we want to assess what you did good. What didn't go so well. Right? the good, the bad, the ugly if you will, right, and then make any adjustments needed before we repeat. Okay. So you're gonna hear me play the scale motion ascending and descending, the arpeggio motion ascending and descending. And nothing fancy, right? I'm just playing through the scale and through the arpeggio focusing on time, articulation feel I want to sound like a jazz pianist. And I'm just getting familiar with the shapes and sound of this half diminished, going to the three dominant going to the six minor, right seven half diminished, three dominant six minor. So let's bring the ensemble in. Let's listen to how I'm going to treat this exercise with scale motion, arpeggio motion, Root Entry, ascending and descending. Okay, so let's check it out. Here we go. Nice, right. It's always a great feeling to match up scale and arpeggio motion with the harmonic structures. Well, it's a great feeling before you try to improvise before you try to do anything creative with it. made sure we have scale and arpeggio motion matched up with the harmony. The two measures at the end of each line that I mentioned, I utilize that time to rest and assess. I also utilize that time to play my voicings, my two handed voicings right, trying to put it all together. So that's exercise one. So now you kind of got an idea of the format here the structure how the other remaining four exercises are going to go. I'm going to utilize the exact same process for each exercise. So now grab lead sheets for exercise number two, okay, now we're dealing with the six minor seven go into the two dominant seven going to the five minor seven, D minor seven g7, C minor seven. And again, I have my scale motion for the first two measures ascending and D. Sunday followed by two measures of rest and assess before repeating. And then on the second line, I have two measures of arpeggio motion, ascending and descending with a Root Entry, followed by two measures of rest and assess before repeating. So I'm going to apply the exact same formulaic process to this progression to this exercise. So let's bring the ensemble in. And let's check it out. Again, this is going to be a tempo of 120 all the exercises By the way, the play long tracks are at 120. Okay, so let's bring the ensemble and let's check it out. I want to focus on sounding like a jazz pianist I want good feel good time, good articulation. Here we go. Very nice, right? Very, very nice. Something I want to mention real quick, I'm doing everything today with a Root Entry. Okay. You can do this exact same process with the third entry on the scale, third entry on the arpeggio, entering with the fifth on the scale and arpeggio entering with the seventh with the scale and arpeggio. Right, you just different geographical regions of the sound is what you would be exploring. today. I'm just starting everything on the route, but I would encourage you to experiment with us and in descending scale and arpeggio motion from not only the root, but from the third and from the fifth and from the seventh, as well. Okay, grab the lead sheets for exercise three. Okay, now you can see we have our five minor seven going to the one dominant seven, resolving to the four major seven, C minor, F dominant B flat major classic 251. But it's not functioning as 251. Right, it's function as five minor to one seven to four major. I mentioned it earlier. This is found in so many standards, so many tunes. Okay, so we're going to do the same thing. We're going to ascend and descend through our scale motion with a route entry, followed by two measures of rest and assess. And then two measures of arpeggio, ascending and descending motion, with a route entry, followed by two measures of rest and assess before repeating, right. So you're gonna hear me do several of the scale, several the arpeggio, same process that we did for exercise one, and for exercise two. So bring the ensemble in. Let's check it out. Here we go. Very nice by now you're starting to really catch on to how this process is working. You know, I just mentioned how important it is to explore different geographical regions of the sound from the root, launching from the root from the third and the fifth from the seventh. You know, the first several courses that I have in the jazz piano skills curriculums deals with the seventh sound, the ninth, the 11th, and 13th were that the whole point of the course is to help you explore major dominant minor, half diminish and diminish sound from these various entry points, right. These courses make up a sequential curriculum that use a self paced format to help you thoroughly study the essential jazz piano skills that you need to command in order to become an accomplished jazz pianists. such as the ability to play through entire sound from root to 13th. So check out the jazz piano skills courses when you have a chance as jazz piano skills members you have full access to use those courses that to use the detailed instruction and illustrations that to listen to the in depth educational talks, the interactive learning media, access to traditional guides and worksheets there are high definition video demonstrations of me playing in all 12 keys the various skills, play along tracks, lead sheets and of course professional personal educational support as well. Check out the courses at jazz piano skills calm when you have a chance and utilize them. They will help you explore sound especially courses 345 and six. Okay, grab the leash sheets for exercise four of Jingle Bells. Now we are going to explore the three half diminished three minor seven, flat five, the six seven goes into six dominant and then resolving to the two dominant so we have our a half diminished going to our D dominant resolving to our G dominant. Again scale, route entry ascending and descending on measures one and two followed by two measures of rest and assess. And then we have two measures of ascending and descending arpeggio motion route entry followed by two measures of rest and assess right so same exact process that we have done for the other exercises for the other 251 motion. And now we're going to do it for this motion that three half diminished go into six dominant resolve into two dominant so let's bring the ensemble in. Let's check it out. Again. I'm focusing on time feel articulation I want to swing I want to sound like a jazz pianist. Here we go. This is such a great way to practice any tune right to snap it apart into the major components that Make up the tune, in this case in this Jingle bells, all these 251 progressions, so great to get our hands on these shapes and sounds and our ears wrapped around these sounds right? Just a wonderful way to practice. So now we're going to look at our final exercise. So grab the lead sheets for exercise five of Jingle Bells. Now we're dealing with the classic 251 of the key of the key of F, two minor seven, the G minor seven going to the five dominant, the C dominant seven, going to the one, the F major seven. Again, we're going to just utilize the same formulaic approach, right, we're going to enter scale motion, Root Entry, ascending and descending through the 251, followed by two measures of arrest and assess. And then we're going to do the same thing for the arpeggio, ascending and descending motion, arpeggio motion with Root Entry, followed by two measures of rest and assess. Okay, one thing I do want to mention before we listen to this very last exercise, if you've noticed on all of these, you'll, it will visually jump out at you, when you look at the lead sheets, my ascending and descending motion, right might, when I begin my descending motion, I always begin on the descending side of the wind. And when I start my ascending motion, I always start on the ascending side of the line. And you'll see that when you look at the lead sheet, right, so like in this example, in exercise five, right, I start on the G minor g entry, I'm going to do the arpeggio. So I'm up to that F, I start my descent and I start my descent on the descending side for that C seven, so I'm on the E. Now I'm going to go up my F major seven. So I'm going to start my ascent on the ascending side of the G, right. Okay, so I get this. So if you were to map that out, or to graph it, you have this beautiful looking like sine wave, if you will, right. So there is a shape of form that I'm using as well with my ascending scale and descending scale motion. And with my ascending and descending arpeggio motion, I just wanted to point that out. And again, if you study the lead sheets, you'll pick up on that on each one of the exercises. So Okay, here we go. Exercise five, our classic 251 in the key of F, G minor seven c dominant to F major. Here we go. Let's check it out. Wow, have we covered a lot of ground in a very short period of time and again, if you have questions over any of today's lesson, over the various 251 patterns that are found within our Jingle Bells or Charlie Parker's confirmation, any questions over those patterns in the motion? By all means, please reach out to me. I'm happy to help and answer any questions that you may have. But what a great tune a Christmas classic. And I hope you have found this jazz piano skills podcast. Lesson exploring Jingle Bells to be insightful and of course beneficial. Just the reminder no masterclass this week. Thursday is Christmas Eve, please share it with family, with friends with loved ones. As a jazz panel skills member, be sure to use the educational podcast guys for this podcast lesson and the jazz piano skills courses to maximize your musical growth. Likewise, make sure you are an active participant in the jazz panel skills forums, get involved and make some new jazz piano friends. As always, you can reach me by phone 972-380-8050 my office extension is 211 greets me by email Dr. Lawrence, Dr. Lawrence at jazz piano skills.com or by speakpipe handy little widget found throughout the jazz panel skills website and the podcast episodes and the jazz piano skills courses. Well, that's it for now. And until next week, enjoy the journey. And most of all, have a very Merry Christmas and have fun as you discover, learn and play jazz piano