Lesson Videos & PDFs - BIJAN TAGHAVI- PIANIST, COMPOSER, EDUCATOR

BIJAN TAGHAVI- PIANIST, COMPOSER, EDUCATOR

Lesson Videos & PDFs

Most lessons on my YouTube channel include a PDF that goes along with the video. They are all available here, for $5 a piece.
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Some of these videos are sample videos that I have made available to the public from my exclusive lesson library for my online video students. To come on board, email me at [email protected], we can set up a free zoom session and I can tell you all about it. Or click here to read more about my Video Exchange Lessons.

Video Title

PDFs

1) How To Play Matrix by Chick Corea - Cross Hands Piano Technique

2) 3 Altered Voicings for Jazz Piano

3) Kenny Barron Autumn Leaves Transcription Analysis

4) Practice Tips: Subtractions Practice Technique

5) Rhythm Changes Improv Ideas - Bijan Taghavi Transcription

6) Create Chords From ANY Scale | Jazz Voicings Lesson
Shorts Version / Full Version

7) Barry Harris Round Midnight Reharmonization
Shorts Version / Full Version

8) Oscar Peterson Take The A Train Transcription Analysis

9) 3 Piano Technique Tips - Lessons From Robert Estrin

10) How To Create Inner Voice Movement - Advanced Jazz Harmony Lesson
Shorts Version / Full Version

11) Do Nothing Til' You Hear From Me - Bijan Comping Transcription

12) Group Comping Voicings OVERVIEW - 2 MUST-KNOW APPROACHES

13) How to REHARMONIZE Jazz Standards (Everything Happens to Me)
Shorts Version / Full Version

14) Barry Harris Passport Transcription Analysis - Bebop Improv Lesson

15) 2 Tips Comping For Vocalists

16) How to Play Fast - 2 Tips for 16th Note Improv Lines (w/ Transcription)

17) Jazz Trio Intro EXPLAINED - Thadrack Intro Transcribed (Piano, Bass, Drums)

18) 3 Tips When Composing an AABA Jazz Tune

19) How To Play Outside Like A Pro (Prof Grady Outside Line Analyzed on All The Things You Are)

20) Rhythmic Motifs in Jazz Improvisation (Bijan Taghavi Stella by Starlight Solo Piano Transcription EXCERPT)

21) Chordal Improvisation (Bijan Taghavi Stella by Starlight Solo Piano EXCERPT)

22) 3 Ways to Use Counterpoint in Jazz (ft. Changes)

23) Chordal Improvisation P.2 (Bijan Taghavi Stella by Starlight Solo Piano EXCERPT)

24) Chromatic Approach to Create Comping Rhythms (Bijan Taghavi Stella by Starlight Solo Piano EXCERPT)

25) 2 Ways to Use a Pedal Point (Bijan Taghavi Body and Soul Solo Piano EXCERPT)

26) How to Create RH Counter-Melodies (Body and Soul)

27) How to Create LH Counterpoint using Broken Chord Shapes (Body and Soul)

28) How to Use Dynamics to Create Drama (Body and Soul)

29) LH Contrasting Texture (Body and Soul)

30) How to End a Song Quietly (Body and Soul)

31) 2 Ways to Create LH Counterpoint P.2 (Body and Soul)

32) 3 Ways to Orchestrate a Melody (Bijan Taghavi "Asojano" melody transcription from TrioGram)

33) Polymeters EXPLAINED (Superimposing 3 over 4)

34) Using Quotes in Jazz Improvisation (Quoting "A Love Supreme" on "How Deep Is The Ocean")

35) Jazz Improv Tip: Develop Your Ideas (2 Melodic Motifs on "Esau")

36) Orchestrating a Melody on Piano Part 2 (Bijan Taghavi "Esau" melody transcription from TrioGram)

37) Improvising over Changing Time Signatures (over Ahmad Jamal's "Crossfire")

38) Ahmad Jamal Ending Chords (from "It Always Happens")

39) Modal Solo on Dmin7b5 for 60 Seconds (from "It Always Happens" by Ahmad Jamal)

40) Inspired by Ahmad Jamal's Poinciana (Secret Love arr. Bijan Taghavi Japan Trio)

41) Rhythmic Telepathy Part 6 (Secret Love arr. Bijan Taghavi Japan Trio)

42) Fade Out Ending (Secret Love arr. Bijan Taghavi Japan Trio)

43) Using Shapes in Jazz Improv (on "End of a Love Affair")

44) Rhythmic Telepathy PART 7 (Superimposing 3 in 4 on "End of a Love Affair")

45) How to Use the Melody in Your Improvisation (on "End of a Love Affair")

46) Jazz Slang P2 - Doule Time Feel EXPLAINED

47) Watch What Made Rodney Whitaker "Swink" (on "Darn That Dream")

48) How to Orchestrate a Melody on Piano P.3 (Autumn Leaves Solo Piano)

49) Improvisation on Autumn Leaves - How to Outline Chord Changes

50) How to Play 16th Note Improv Lines over Autumn Leaves

51) Metric Modulation on "Autumn Leaves" (Part 1: 4 to 3)

52) Soloing in 3/4 on "Autumn Leaves"

53) Metric Modulation on "Autumn Leaves" (Part 2: 3 to 4)

54) Piano Technique Tips (Part 1) | 3 Parts of the Body: Arms vs Fingers vs Wrists

55) Piano Technique Tips (Part 2) | 2 Reasons Why You MUST Strike From the Surface of the Keys

56) Piano Technique Tips (Part 3) | How to Bring Out the Melody in your Playing

57) Varying Articulations | SECRET Practice Exercise for Voicing Control

58) How to STOP Playing the Same Licks in Your Jazz Solos (I Should Care)

59) 5 Octaves in 5 Seconds with this KILLER Descending Run (I Should Care)

60) 5 Inner Voice Movements on "I Should Care"

61) The SECRET To Making Stride SWING (The Hump on "I Should Care")

62) How to Get a FULL Sound out of the Piano ("I Should Care")

63) What is Over the Barline Phrasing in Jazz Improv? ("I Should Care")

64) How to Use Theme & Variation like Kenny Barron ("I Should Care")

65) Soloing on an E minor Blues in 12/8 Time Signature (on Neck Pump's "That Feeling")

66) Soloing on Cmi7 for 60 Seconds (on Ahmad Jamal's "Crossfire")

67) 2 Ways to Create Rhythm Section Interplay (Rhythmic Telepathy Part 8)

68) Use this Motif When Improvising in ¾! (from "Changes")

69) How to Create Rhythm Tension in 3/4 (from "Changes")

70) Polyrhythm vs Polymeter EXPLAINED (from "Changes")

71) How to Jazzify the Living Pianos Theme Song

72) 2 Ways to Use Triplets in Your Improvisations (ala Mulgrew Miller)

73) Inverted Pedal Point on Rhythm Changes

74) 3 Ways to Approach the Bridge of Rhythm Changes

75) How to Comp for a Bass Solo (Rhythm Changes)

76) Playing in 2 vs Playing in 4 (Part 2 on "Goodbye Forever")

77) How to Use Shapes to Achieve New Sounds in Your Improvisations (2 Shapes on "In A Sentimental Mood")

78) The CRAZIEST Cadenza You've Ever Heard (ending to "I've Never Been In Love Before")

79) How to Harmonize a Melody in 2 Voices ("How Deep is the Ocean")

80) How to Orchestrate a Melody for Solo Piano P.4 ("I Fall in Love Too Easily")

81) Jazz Improv Tip: Develop Your Ideas P.7 ("I Fall in Love Too Easily")

82) How to Play Bluesy over Non-Blues Chord Changes ("Ezra")

83) Soloing with Red Garland Block Chords ("Days of Wine and Roses")

84) How to End a Ballad with a Solo Piano Cadenza ("Here's That Rainy Day")

85) Half Time vs Double Time ("Here's That Rainy Day")

86) Repetition in Improvisation ("Days of Wine and Roses")

87) How to Use 16th Notes in Your Jazz Solos ("Days of Wine and Roses")

88) How to Adapt Improv Shapes to Fit Over New Chords

89) The Magic of Circle of 5ths Endings (Ending Chords to "I Fall in Love Too Easily)

90) Solo Piano Rubato Intro on "Days of Wine and Roses"

91) "SET US UP" - How to Establish the Time and Tempo After a Solo Piano Intro

92) 3 Inner Voice Movements for a dom7 Chord ("I Fall in Love Too Easily")

93) How to Use Barry Harris' "Diminished Notes" ("I Fall In Love Too Easily")

94) Let Your Melodies Dictate Your Chords (Solo Piano Rubato Intro P.2 on "Here's That Rainy Day")

95) 3 Tips to Take Your 16th Note Lines to the Next Level ("Here's That Rainy Day")

96) Chordal Improvisation on "Here's That Rainy Day" (PART 3)

97) Paint: How to Orchestrate a Melody on a Ballad (Part 5 on "Here's That Rainy Day")

98) 3 Ways to Sound Like McCoy Tyner (Angular Dissent @ Spain)

99) Use This Shape to End Your Phrases

100) The Secrets to Walking Basslines on Piano (on "Have You Met Miss Jones" Take 2)

101) Funky Bassline on "Have You Met Miss Jones" (Take 1)

102) Metric Modulation on "Have You Met Miss Jones"

103) Classic Ending for Any Jazz Standard (#4 Ending on "Have You Met Miss Jones")

104) Chordal Improvisation (Part 4) on "Have You Met Miss Jones"

105) What are New Orleans Block Chords? (on "Have You Met Miss Jones")

106) LH Comping Approach for Solo Piano (Broken Shells on "Have You Met Miss Jones")

107) How to Orchestrate a Melody for Solo Piano P.6 (Have You Met Miss Jones)

108) 3 Tips for Soloing in 3/4 (Solo on "Mixed Feelings")

109) How to Build Your Solo Using Motifs (Solo on "Mixed Feelings")

110) How to Swing (Secret to Accents in Jazz on "Rosetta")

111) Communication on the Bandstand (4 Examples in 60 Seconds on "Rosetta")

112) Stop Time (Jazz Slang EXPLAINED P.3 over "Rosetta")

113) 16th Note Line EXPLAINED (on "Have You Met Miss Jones")

114) 3 Substitutions for Improvising over a 36251 Progression ("Stablemates")

115) Comping Movement over "Just Friends"

116) Develop your Rhythmic Vocabulary to Create Interplay (Comping over Bb Blues)

117) Building a Jazz Solo ("You and the Night and the Music")

118) Piano + Bass RHYTHMIC TELEPATHY (Part 10 over "You and the Night and the Music")

119) Bossa Nova Duo Comping ("You're My Everything")

120) How to Play Fast Like Bud Powell over "Cherokee"

121) Up-Tempo Improvisation over "Donna Lee"

122) How to Harmonize Every Melody Note with a New Chord (Have Yourself A Merry Little Christmas Reharmonization)

123) Exchanging Ideas When Comping over a Ballad ("Body and Soul")

124) Playing the BLUES with Lewis Nash (1 Chorus F Blues Improv Analysis)

125) How to Start Your Solo ("Take the Coltrane"/F Blues)

126) How to Interact with the Drums While Soloing (over "Have You Met Miss Jones")

127) Piano & Drums Duo? (Maestro Joe LaBarbera and Bijan Share a Special Moment on "Angular Dissent")

128) Using the LH to Create Sweeping Texture on "Ask Me Now"

129) How to Create Rhythmic Interest on a Ballad (Alternating Pulses on "Ask Me Now")

130) Metric Modulation on "Ask Me Now" (4 to 3)

131) The SECRET To Fluid Improvisation in 3/4 (on "Ask Me Now")

132) Metric Modulation on "Ask Me Now" PART 2 (3 to 4)

133) Add Personality to Your Jazz Improvisation with ACCENTS (on "Ask Me Now")

134) Melodic Adaptation in Jazz Improvisation (Duke Ellington & Thelonious Monk Shape on "Ask Me Now")

135) How to Create an Elegant Intro to "Wave"

136) How to Add Colors in Your Playing ("Wave")

137) Unlock Your SOLO PIANO Bossa Nova Playing with this Rhythmic SECRET ("Wave")

138) 3 Ways to FILL when Orchestrating a Melody on Piano ("Wave")

139) 3 Inner Voice Movements over "Wave"

140) The Piano is an Orchestra (Solo Piano Improvisation on "Wave")

141) "The Ending was EPIC!" - Bijan's Solo Piano Cadenza on "Wave"

142) CRAZY Rhythmic Technique Creates Piano+Drums CONNECTION ("Angular Dissent")

143) The SECRET To Channeling McCoy Tyner in Your Improvisation

144) INSANE Trio Interplay! Piano+Bass+Drums START & STOP the Time

145) The Importance of DANGER in Improvisation?

146) The SECRET to Playing Fast Bebop Lines like Oscar Peterson

147) TASTEFUL Chordal Improvisation on "Wave"

148) The SECRET to Spontaneity in Jazz Improvisation

149) What is Inner Tonal Movement? MUST SEE Solo Piano Technique to Orchestrate a Melody

150) MUST KNOW Chord Progression to Create an Intro for Any Jazz Standard (#4 Intro on "East of the Sun")

151) BLUES OUT on a 3625 Progression (TAG Ending on "East of the Sun")

152) Solo Piano Rubato Intro on "East of the Sun"

153) Using the Bottom of the RH to Fill When Orchestrating the Melody to "East of the Sun"

154) Stride Piano SECRETS on "East of the Sun"

155) How to Build a Jazz Solo over "East of the Sun" (6 Ways to Create Tension-Release)

156) 3 Levels of Jazz Basslines ft. Luther Hughes INSANE Interplay on "Isfahan"

157) CRAZY Duo Interplay Creates Piano+Bass Connection ft. Luther Hughes

158) 3 Techniques to Create Your Own Jazz Lines!

159) How Listening Fuels CREATIVITY

160) How to Orchestrate a Melody for Solo Piano (Rubato Style on "Everything Happens to Me")

161) 3 Ways to Create Motion in Your Rubato Ballad Playing

162) The SECRET to Creating LH Counterpoint like Bill Evans

163) How to Orchestrate a Melody for an In-Time Ballad (Everything Happens to Me)

164) Do You Know the Original Chord Changes to "Wave"?

165) 2 Rhythmic Feels on a Ballad (Everything Happens to Me)

166) How to Use Pedal Points in Your Playing (Part 1, Bass Pedal on Everything Happens to Me)

167) How to Use Pedal Points in Your Playing (Part 2, Inverted Pedal on Everything Happens to Me)

168) 2 Ways to Use Pedal Points in Your Playing

169) Swing Like Bach: How Contrary Motion In Your Jazz Piano Improvisation!

170) How Quoting Jazz Standards Can Create Piano+Drums Connections

171) Metric Modulation on a Jazz Ballad

172) Metric Modulation on "Everything Happens to Me" PART 2 (3/4 to 4/4)

173) Use This 2-5-1 Substitution in Your Jazz Improvisation!

174) Jazz Improv Tip: Get the Drummer Involved!

175) Jazz Improv Tip: Develop Your Ideas P.14 ("I'll Remember April")

176) Bossa Nova Rhythmic Language You MUST KNOW!

177) Jazz Rhythmic Language You MUST KNOW!

178) Create New Sounds in Your Improvisations with Interlocking Polychords

179) 2 SECRETS to Play Fast Runs in Your Jazz Solos (Ala Mulgrew Miller & Herbie Hancock)

180) Improv Analysis on "I'll Remember April"

181) How to Use Thelonious Monk Clusters to Create HIP Phrasing in Your Jazz Improvisation

182) Bossa Nova Rhythmic Language You MUST KNOW! (Part 2 on "Desafinado")

183) Take Your Phrasing to the NEXT LEVEL with this Simple Trick!

184) How to Improvise on a SOLO BREAK

185) Jazz Improv Tip: Get the Drummer Involved! (P.2)

186) How Listening Sparks MAGICAL Trio Interplay on "I'll Be Seeing You"

187) 2 SECRETS to Elevate Your Intro to "Girl From Ipanema" (Vamp Intro Breakdown)

188) "UNBELIEVABLE" Ending to Girl From Ipanema (Reharmonized Candenza)

189) Use Polychords to Create Harmonically RICH Improvisation (Pent Up House)

190) UNLOCK Up-Tempo Soloing with Pentatonic Permutations (ala Chick Corea & McCoy Tyner)

191) Stop Abandoning Your Ideas Too Soon! Keep Your Ideas Going to achieve FLOW in Your Improvisation (ft. Pentatonic & 3rds Shapes!)

192) Why Your Left Hand is Failing You and How to Fix It (4 LH Comping Techniques over "Pent Up House")

193) 3 Ways to Connect with the Drummer in Your Jazz Solos

194) Girl From Ipanema - How to Orchestrate a Melody for Solo Piano

195) How to Orchestrate a Melody for Solo Piano - Girl From Ipanema (PART 2)

196) This Tritone Sub Got a 'Woo' From My Drummer! ("Ballad for the Very Tired and Very Sad Lotus Eaters")

197) Jazz Rhythmic Language You MUST KNOW! (Part 2)

198) 2 Ways to Set Up a Tune that Starts on the iimi7 chord?

199) How to Pass Lines Through the Thumbs Like Bach (Lesson from Fred Hersch)

200) Do You Know this SECRET Tension Chord?

201) 4 Ways to Create Motion in Your Rubato Ballad Playing

202) The MOST Important Thing When Orchestrating a Rubato Melody (It's Not What You Think!)

203) 6 Chord Substitutions & Inner-Voice Movements on "I Fall in Love Too Easily"

204) How to Use Contrary Motion when Orchestrating a Melody (á la Bach & Bill Evans)

205) How to Use Contrary Motion when Orchestrating a Melody (P.2 à la Fred Hersch)

206) Piano+Drums Rhythmic Interplay ft. Bijan & Keith Hall on "Ask Me Now"

207) Jazz Harmony in ACTION: 5 Ways to SPICE UP a 2516 Progression

208) HEARTWARMING Chords They Don't Teach You About in School! (Solo Piano Cadenza on "Ask Me Now")

209) 2 Ways to Improvise over a Sidestep 2-5

210) 5 Ways to Use Your Left Hand in a Jazz Solo

211) Why This Jazz Line Made My Drummer STANK FACE (Descending Rhythmic Rates in One Line on "Isfahan")

212) "Pocket So Deep, I Can't Find My Spare Change"

214) How Listening Sparks MAGICAL Duo Interplay (ft. Dick Oatts & Bijan Taghavi on "All The Things You Are")

215) 2 Ways to Use Counterpoint Like Bach

216) A Secret Solo Piano Texture YOU SHOULD KNOW (LH Climb & Meet on "Desafinado")

217) The Spontaneity of Solo Piano Part 1 on "Desafinado": Metric Modulation

218) Half-Time Feel Shift on "I'll Remember April"

219) 3 Short Fill Techniques ("I'll Remember April" Intro)

220) Orchestrating the Melody to the A Section of "I'll Remember April" for Solo Piano (How Chopin Can Help Your Jazz Piano Playing!)

221) How to Orchestrate a Melody at Up-Tempos ("I'll Remember April" Bridge)

222) Achieve SPONTANEITY in Your Jazz Solos (Develop Your Ideas P.16)

223) A Simple Way to Use Chords at Up-Tempos

224) How to Make Your Jazz Solos Sound Harmonically RICH (Upper-Structure Harmony on "I'll Remember April")