BIJAN TAGHAVI- PIANIST, COMPOSER, EDUCATOR
  • About
  • Media
    • TRIOGRAM CD
    • Pianist
    • Educator
    • Composer/Arranger
    • Articles
  • Calendar
    • Upcoming Performances
    • Past Performances
  • Educator
    • Video Exchange Lessons
    • Testimonials
  • Transcriptions
    • Bijan Taghavi >
      • Stella by Starlight (Solo Piano)
      • Body and Soul (Solo Piano)
      • Autumn Leaves (Solo Piano)
      • I Should Care (Solo Piano)
      • Have You Met Miss Jones (Solo Piano)
    • Bill Evans
    • Kenny Barron
    • Barry Harris
    • Hank Jones
    • Herbie Hancock
    • Oscar Peterson
  • Lesson Videos & PDFs
    • Comping >
      • Group Comping Voicings Overview
      • Jazz Piano Comping EXPLAINED!
      • Oscar Peterson Take The A Train Transcription Analysis
      • 2 Tips Comping For Vocalists
      • Chromatic Approach
      • LH Contrasting Texture (Body and Soul)
      • Comping over Rhythm Changes (for a Bass Solo)
      • The Secrets to Walking Basslines on Piano
      • Funky Bassline
      • LH Comping Approach for Solo Piano
    • Harmony >
      • How to Harmonize a Melody with 2 Voices
      • Inverted Pedal Point on Rhythm Changes
      • How to Jazzify the Living Pianos Theme Song
      • How to Get a Full Sound out of the Piano
      • 5 Inner Voice Movements on "I Should Care"
      • How to Create RH Counter-Melodies (Body and Soul)
      • 2 Ways to Use a Pedal Point
      • Create Chords From ANY Scale (Barry Harris)
      • How To Create Inner Voice Movement
      • How to REHARMONIZE Jazz Standards
    • Harmony P.2 >
      • Barry Harris Round Midnight Reharmonization
      • 3 Inner Voice Movements for a dom7 chord
      • How to Use Barry Harris' "Diminished Notes"
      • Solo Piano Rubato Intro on "Days of Wine and Roses"
      • Let Your Melodies Dictate Your Chords (Solo Piano Rubato Intro P.2)
    • Improv >
      • Barry Harris Passport (Blues) Improv Analysis
      • Kenny Barron Autumn Leaves Melody Transcription Analysis
      • Rhythm Changes Improv Ideas (Bijan Transcription)
      • Rhythmic Motifs in Jazz Improvisation
      • Chordal Improvisation
      • Chordal Improvisation Part 2
      • Jazz Improv - How to Play OUTSIDE
      • How to Create LH Counterpoint (Body and Soul)
      • 2 Ways to Create LH Counterpoint (P.2)
      • Using Quotes in Jazz Improvisation (Quoting "A Love Supreme" on "How Deep Is The Ocean")
    • Improv P.2 >
      • Jazz Improv Tip: DEVELOP Your Ideas (2 Melodic Motifs on "Esau")
      • Modal Solo on min7b5 (from "It Always Happens")
      • Using Shapes in Jazz Improv
      • How to Use the Melody in Your Improvisation
      • Watch What Made Rodney Whitaker "Swink"
      • How to Outline Chord Changes (Improv on "Autumn Leaves")
      • 16th Note Improv Lines over "Autumn Leaves"
      • Soloing in 3/4 on "Autumn Leaves"
      • How to STOP Playing the Same Licks in Your Jazz Solos
      • 5 Octaves in 5 Seconds with this KILLER Run
    • Improv P.3 >
      • What is Over the Barline Phrasing in Jazz Improvisation?
      • How to Use Theme & Variation like Kenny Barron
      • Modal Solo on Cmin7 (from "Crossfire")
      • Use This Motif When Improvising in 3/4!
      • 2 Ways to Use Triplets in Your Improvisations
      • 3 Ways to Approach the Bridge of Rhythm Changes
      • How to Use Shapes to Achieve New Sounds in Your Improvisations
      • Jazz Improv Tip: DEVELOP Your Ideas P.7 (I Fall in Love Too Easily)
      • How to Play Bluesy over Non-Blues Chord Changes
      • What are Red Garland Block Chords?
    • Improv P.4 >
      • Repetition in Improvisation
      • How to Use 16th Notes in Your Jazz Solos (Days of Wine and Roses)
      • How to Adapt Improv Shapes to Fit Over New Chords (Days of Wine and Roses)
      • 3 Tips to Take Your 16th Note Lines to the Next Level
      • Chordal Improvisation Part 3
      • 3 Ways to Sound Like McCoy Tyner
      • Use this Shape to End Your Phrases
      • Chordal Improvisation Part 4
      • What are New Orleans Block Chords?
    • Rhythm >
      • Polyrhythm vs Polymeter EXPLAINED
      • How to Create Rhythmic Tension in 3/4
      • 2 Ways to Create Rhythm Section Interplay (Rhythmic Telepathy Part 8)
      • Soloing on an E Minor Blues in 12/8
      • The SECRET To Making Stride Piano Swing
      • Polymeters EXPLAINED (Superimposing 3 over 4)
      • Improvising over Changing Time Signatures (over Ahmad Jamal's "Crossfire)
      • Rhythmic Telepathy PART 6 ("Secret Love" arr. Bijan Taghavi Trio)
      • Rhythmic Telepathy PART 7 (Superimposing 3 in 4 on "End of a Love Affair")
      • Jazz Slang P.2 - Double Time Feel EXPLAINED
    • Rhythm P.2 >
      • Metric Modulation over "Autumn Leaves" (Part 1: 4 to 3)
      • Metric Modulation over "Autumn Leaves" (Part 2: 3 to 4)
      • Playing in 2 vs in 4 (Part 2)
      • Half Time vs Double Time ("Here's That Rainy Day")
      • How to "Set Up" The Band
      • Metric Modulation on Have You Met Miss Jones
    • Piano Orchestration >
      • 3 Ways to Orchestrate A Melody ("Asojano" from TrioGram)
      • Orchestrating A Melody P.2 ("Esau" from TrioGram)
      • How to Orchestrate a Melody for Solo Piano (Autumn Leaves)
      • How to Orchestrate a Melody for Solo Piano (I Fall in Love Too Easily)
      • PAINT: How to Orchestrate a Melody for a Ballad (Here's That Rainy Day)
      • How to Orchestrate a Melody for Solo Piano (Have You Met Miss Jones)
    • Piano Technique >
      • 3 Parts of the Body
      • 2 Reasons Why You MUST Strike From The Surface of the Keys
      • How to Bring Out the Melody in Your Playing
      • SECRET Practice Exercise for Voicing Control
      • How to Use Dynamics to Create Drama
      • How to End a Song Quietly
      • 3 Piano Technique Tips - Lessons From Robert Estrin
      • How to Play FAST
      • Subtractions Practice Technique (for Syncopation & Hand Independence)
      • Crossed-Hands Piano Technique (Chick Corea's Matrix)
    • Composition/Arranging >
      • 3 Ways to Use Counterpoint in Jazz
      • 3 Tips When Composing an AABA Tune
      • Jazz Trio Intro EXPLAINED
      • Ahmad Jamal Ending Chords
      • Inspired by Ahmad Jamal's Poinciana ("Secret Love" arr. Bijan Taghavi Japan Trio)
      • How to Fade Out (Ending to "Secret Love")
      • The CRAZIEST Cadenza You've Ever Heard
      • How to End a Ballad with a Solo Piano Cadenza ("Here's That Rainy Day")
      • The Magic of Circle of 5ths Endings
      • Classic Ending for Any Jazz Standard (#4 Ending)
  • Press
    • Interviews
    • Quotes
    • EPK
  • Contact

Lesson Policy

When a student undertakes lessons, the student is undertaking a responsibility: a responsibility to show up on time for lessons, to bring all materials, to practice, to pay on time, and to notify Bijan Taghavi of cancellations and postponing of lessons. Students must adhere to the following guidelines below in which contain the Bijan Taghavi Lesson Policy

Missing a Lesson

Consistent attendance is the key to developing any skill, particularly when striving towards one's musical aptitudes, as students are encouraged to attend every lesson in order to achieve their goals of advancing their musical skills. 

When you schedule lessons on a regular basis, keep in mind that you are reserving a time slot amidst Bijan's schedule. This time slot is reserved for you and you only, therefore constantly skipping lessons not only disrupts Bijan's schedule, but takes away from someone who was in desire of the given time slot.

If you must miss a lesson due to various circumstances, we ask that you notify Bijan at least 48 hours in advance of the lesson that will be missed. Cancellations within 48 hours of the scheduled lesson time must be billed.

Tardiness

Tardiness to lessons are intolerable. In the event of a late appearance to a lesson, it will be upon the discretion of Bijan how much extra time- if any- will be rewarded to the student as a result of their tardiness. Arriving late to lessons signifies the student disrespecting their time slot, which has been valuably placed within the confines of Bijan's time, and therefore must be prevented.

If you are aware in advance of tardiness to your lesson, a 24-hour notification would nullify the consequences of tardiness. In any other instance, contact Bijan to find out if you are eligible.

Tuition

Payments are due per lesson. Contact Bijan for more information regarding your payment. Lessons will not be given to students who owe for a previous lesson until payment is received. In special circumstances, Bijan may offer various payment plans in the event of financial difficulties. 

Rescheduling

Postponed lessons may be rescheduled depending on particular availabilities within Bijan's schedule. Contact Bijan as soon as possible to assure reservation of an available time slot.

Materials

Students are expected to bring the required materials with them every lesson:
  • Manuscript Book
  • SongBooks, LessonBooks designated by Bijan
  • Other materials designated by Bijan

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  • About
  • Media
    • TRIOGRAM CD
    • Pianist
    • Educator
    • Composer/Arranger
    • Articles
  • Calendar
    • Upcoming Performances
    • Past Performances
  • Educator
    • Video Exchange Lessons
    • Testimonials
  • Transcriptions
    • Bijan Taghavi >
      • Stella by Starlight (Solo Piano)
      • Body and Soul (Solo Piano)
      • Autumn Leaves (Solo Piano)
      • I Should Care (Solo Piano)
      • Have You Met Miss Jones (Solo Piano)
    • Bill Evans
    • Kenny Barron
    • Barry Harris
    • Hank Jones
    • Herbie Hancock
    • Oscar Peterson
  • Lesson Videos & PDFs
    • Comping >
      • Group Comping Voicings Overview
      • Jazz Piano Comping EXPLAINED!
      • Oscar Peterson Take The A Train Transcription Analysis
      • 2 Tips Comping For Vocalists
      • Chromatic Approach
      • LH Contrasting Texture (Body and Soul)
      • Comping over Rhythm Changes (for a Bass Solo)
      • The Secrets to Walking Basslines on Piano
      • Funky Bassline
      • LH Comping Approach for Solo Piano
    • Harmony >
      • How to Harmonize a Melody with 2 Voices
      • Inverted Pedal Point on Rhythm Changes
      • How to Jazzify the Living Pianos Theme Song
      • How to Get a Full Sound out of the Piano
      • 5 Inner Voice Movements on "I Should Care"
      • How to Create RH Counter-Melodies (Body and Soul)
      • 2 Ways to Use a Pedal Point
      • Create Chords From ANY Scale (Barry Harris)
      • How To Create Inner Voice Movement
      • How to REHARMONIZE Jazz Standards
    • Harmony P.2 >
      • Barry Harris Round Midnight Reharmonization
      • 3 Inner Voice Movements for a dom7 chord
      • How to Use Barry Harris' "Diminished Notes"
      • Solo Piano Rubato Intro on "Days of Wine and Roses"
      • Let Your Melodies Dictate Your Chords (Solo Piano Rubato Intro P.2)
    • Improv >
      • Barry Harris Passport (Blues) Improv Analysis
      • Kenny Barron Autumn Leaves Melody Transcription Analysis
      • Rhythm Changes Improv Ideas (Bijan Transcription)
      • Rhythmic Motifs in Jazz Improvisation
      • Chordal Improvisation
      • Chordal Improvisation Part 2
      • Jazz Improv - How to Play OUTSIDE
      • How to Create LH Counterpoint (Body and Soul)
      • 2 Ways to Create LH Counterpoint (P.2)
      • Using Quotes in Jazz Improvisation (Quoting "A Love Supreme" on "How Deep Is The Ocean")
    • Improv P.2 >
      • Jazz Improv Tip: DEVELOP Your Ideas (2 Melodic Motifs on "Esau")
      • Modal Solo on min7b5 (from "It Always Happens")
      • Using Shapes in Jazz Improv
      • How to Use the Melody in Your Improvisation
      • Watch What Made Rodney Whitaker "Swink"
      • How to Outline Chord Changes (Improv on "Autumn Leaves")
      • 16th Note Improv Lines over "Autumn Leaves"
      • Soloing in 3/4 on "Autumn Leaves"
      • How to STOP Playing the Same Licks in Your Jazz Solos
      • 5 Octaves in 5 Seconds with this KILLER Run
    • Improv P.3 >
      • What is Over the Barline Phrasing in Jazz Improvisation?
      • How to Use Theme & Variation like Kenny Barron
      • Modal Solo on Cmin7 (from "Crossfire")
      • Use This Motif When Improvising in 3/4!
      • 2 Ways to Use Triplets in Your Improvisations
      • 3 Ways to Approach the Bridge of Rhythm Changes
      • How to Use Shapes to Achieve New Sounds in Your Improvisations
      • Jazz Improv Tip: DEVELOP Your Ideas P.7 (I Fall in Love Too Easily)
      • How to Play Bluesy over Non-Blues Chord Changes
      • What are Red Garland Block Chords?
    • Improv P.4 >
      • Repetition in Improvisation
      • How to Use 16th Notes in Your Jazz Solos (Days of Wine and Roses)
      • How to Adapt Improv Shapes to Fit Over New Chords (Days of Wine and Roses)
      • 3 Tips to Take Your 16th Note Lines to the Next Level
      • Chordal Improvisation Part 3
      • 3 Ways to Sound Like McCoy Tyner
      • Use this Shape to End Your Phrases
      • Chordal Improvisation Part 4
      • What are New Orleans Block Chords?
    • Rhythm >
      • Polyrhythm vs Polymeter EXPLAINED
      • How to Create Rhythmic Tension in 3/4
      • 2 Ways to Create Rhythm Section Interplay (Rhythmic Telepathy Part 8)
      • Soloing on an E Minor Blues in 12/8
      • The SECRET To Making Stride Piano Swing
      • Polymeters EXPLAINED (Superimposing 3 over 4)
      • Improvising over Changing Time Signatures (over Ahmad Jamal's "Crossfire)
      • Rhythmic Telepathy PART 6 ("Secret Love" arr. Bijan Taghavi Trio)
      • Rhythmic Telepathy PART 7 (Superimposing 3 in 4 on "End of a Love Affair")
      • Jazz Slang P.2 - Double Time Feel EXPLAINED
    • Rhythm P.2 >
      • Metric Modulation over "Autumn Leaves" (Part 1: 4 to 3)
      • Metric Modulation over "Autumn Leaves" (Part 2: 3 to 4)
      • Playing in 2 vs in 4 (Part 2)
      • Half Time vs Double Time ("Here's That Rainy Day")
      • How to "Set Up" The Band
      • Metric Modulation on Have You Met Miss Jones
    • Piano Orchestration >
      • 3 Ways to Orchestrate A Melody ("Asojano" from TrioGram)
      • Orchestrating A Melody P.2 ("Esau" from TrioGram)
      • How to Orchestrate a Melody for Solo Piano (Autumn Leaves)
      • How to Orchestrate a Melody for Solo Piano (I Fall in Love Too Easily)
      • PAINT: How to Orchestrate a Melody for a Ballad (Here's That Rainy Day)
      • How to Orchestrate a Melody for Solo Piano (Have You Met Miss Jones)
    • Piano Technique >
      • 3 Parts of the Body
      • 2 Reasons Why You MUST Strike From The Surface of the Keys
      • How to Bring Out the Melody in Your Playing
      • SECRET Practice Exercise for Voicing Control
      • How to Use Dynamics to Create Drama
      • How to End a Song Quietly
      • 3 Piano Technique Tips - Lessons From Robert Estrin
      • How to Play FAST
      • Subtractions Practice Technique (for Syncopation & Hand Independence)
      • Crossed-Hands Piano Technique (Chick Corea's Matrix)
    • Composition/Arranging >
      • 3 Ways to Use Counterpoint in Jazz
      • 3 Tips When Composing an AABA Tune
      • Jazz Trio Intro EXPLAINED
      • Ahmad Jamal Ending Chords
      • Inspired by Ahmad Jamal's Poinciana ("Secret Love" arr. Bijan Taghavi Japan Trio)
      • How to Fade Out (Ending to "Secret Love")
      • The CRAZIEST Cadenza You've Ever Heard
      • How to End a Ballad with a Solo Piano Cadenza ("Here's That Rainy Day")
      • The Magic of Circle of 5ths Endings
      • Classic Ending for Any Jazz Standard (#4 Ending)
  • Press
    • Interviews
    • Quotes
    • EPK
  • Contact