Jazz+

What do you mean?

Modes of C melodic minor shown in an unmusical academic order:

Modern jazz composition often involves the juxtaposition of modes from different keys. This approach allows composers and improvisers to create unique and colorful harmonic landscapes, often pushing the boundaries of traditional tonality. Students are encouraged to explore each mode extensively. This can involve experimenting with different melodic patterns, intervals, and rhythmic ideas within each mode. This helps internalize the sound and shape of each mode while also developing improvisational skills. Students can start with simple melodies and gradually add complexity as they become more comfortable with each mode. ______ Harry Likas was the technical editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book." In a musical sequence:

I've arranged "Moon River” for educational purposes using my optimized chord voicing system for students of solo jazz piano.

It's called the smooth jazz new age progression.

I have a Casio CT-S1 and a Kawai ES120

Bells and whistles aside, all I could care about is its Piano 1 sound, and its behavior, and the key action response compared to the already excellent Casio CT-S1.

The Casio CT-S1 is pretty good when you set the Touch to Heavy. The Roland Go and the Yamaha are pretty awful in comparison, I can't even play them.

I like light actions so it's a Kawai ES120 for me.

It somehow reminds me of Elton John. I wonder why that big hall snare drum sound was chosen, it sounds miscast to me.

I had a cataract in my right eye. So I chose a mono focal mid range toric for my left and a three way multi focal for my right. No more glasses.

There's currently no audio Out signal from FaceTime when using a firewire port adapter for wired headphones which I attempted for teaching virtually. I called Apple and the only way is by using wireless Airpods. So I have to use an old iPhone 6 if I want to use my favorite wired headphones.

He looks a little like the guy in the movie "Whiplash"

Kawai ES series recommended, I’m not a fan of the Roland and Yamaha.

I spent an entire day with Mark Levine and Barry Harris in Berkeley, California, in a room in 1987 as the two of them went over their entire systems as the tape recorder rolled. Mark and I later transcribed it. Mark Levine's "The Jazz Piano Book," which I assisted Mark in developing, covered block chording and came out in 1988. I was also the technical editor for Mark's follow-up book, "The Jazz Theory Book," in 1995. Barry Harris's book was published in 1992. I had already learned all of the block chord jazz theory previously at Berklee in the 1970s, which is where Mark learned it in the 1960s.