BIJAN TAGHAVI- PIANIST, COMPOSER, EDUCATOR
  • About
  • Media
    • CACTUS SESSIONS CD
    • Pianist
    • Educator
    • Composer/Arranger
    • Articles
  • Calendar
    • Upcoming Performances
    • Past Performances
  • Educator
    • Video Exchange Lessons
  • 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)
      • Have Yourself A Merry Little Christmas (Solo Piano)
      • Ask Me Now (Solo Piano)
      • Wave (Solo Piano)
      • East of the Sun (Solo Piano)
      • Everything Happens to Me (Solo Piano)
      • Girl From Ipanema (Solo Piano)
      • I Fall in Love Too Easily (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
    • Comping P.2 >
      • Comping Fill over Just Friends
      • Develop Your Rhythmic Vocabulary to Create Interplay (Bb Blues Comping)
      • Bossa Nova Duo Comping
      • Exchanging Ideas When Comping over a Ballad
      • LH Sweeping Texture on "Ask Me Now"
      • SECRET To Playing Bossa Nova Solo Piano
      • How Listening Fuels CREATIVITY
      • Why Your Left Hand is Failing You and How to Fix It (4 LH Comping Techniques over "Pent Up House")
    • 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)
      • How to Harmonize Every Melody Note with a New Chord
      • 3 Inner Voice Movements on "Wave"
      • 3 Ways to Create Motion
      • The SECRET to Creating LH Counterpoint like Bill Evans
      • Do You Know the Original Chord Changes to "Wave"?
    • Harmony P.3 >
      • How to Use Pedal Points (Part 1)
      • How to Use Pedal Points (Part 2)
      • 2 Ways to Use Pedal Points
      • Swing Like Bach: Contrary Motion in Your Improv
      • This Tritone Sub Got a 'Woo' From My Drummer!
    • 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?
      • 3 Tips for Soloing in 3/4
    • Improv P.5 >
      • How to Build Your Solo Using Motifs
      • Stop Time
      • 16th Note Line EXPLAINED (Have You Met Miss Jones)
      • 3 Substitutions over a 36251
      • Building a Jazz Solo
      • How to Play Fast Like Bud Powell
      • Up-Tempo Improv over "Donna Lee"
      • Playing the Blues
      • How to Start Your Solo
      • How to Interact with the Drums While Soloing
    • Improv P.6 >
      • Piano + Drums Duo?
      • The SECRET to Fluid Improvisation in 3/4
      • The Power of ACCENTS
      • How to Use This Duke Ellington and Thelonious Monk Improv Shape
      • The Piano is an Orchestra
      • The SECRET To Channeling McCoy Tyner
      • The Importance of DANGER in Improvisation?
      • The SECRET to Playing Fast Bebop Lines like Oscar Peterson
      • TASTEFUL Chordal Improvisation on "Wave"
      • The SECRET to Spontaneity in Jazz Improvisation
    • Improv P.7 >
      • 6 Ways to Create Tension-Release
      • 3 Ways to Create Your Own Jazz Lines!
      • Regular 2-5-1 vs Sidestep 2-5-1
      • Jazz Improv Tip: Get the Drummer Involved!
      • Jazz Improv Tip: Develop Your Ideas P.14
      • Interlocking Polychords
      • 2 SECRETS to Playing Fast Runs (Ala Mulgrew & Herbie)
      • Improv Analysis on "I'll Remember April"
      • Use Monk Clusters to Create HIP Phrasing
      • Take Your Phrasing to the NEXT LEVEL with this Simple Trick!
    • Improv P.8 >
      • How to Improvise on a SOLO BREAK
      • Jazz Improv Tip: Get the Drummer Involved (P.2)
      • Use Polychords to Create Harmonically RICH Improvisation
      • UNLOCK Up-Tempo Improv with Pentatonic Permutations
      • Keep Your Ideas Going to Achieve FLOW in Your Improvisation
    • 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")
    • Rhythm P.2 >
      • Jazz Slang P.2 - Double Time Feel EXPLAINED
      • 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
      • How to Swing
      • Communication on the Bandstand
      • Piano + Bass Rhythmic & Harmonic Telepathy (Part 10)
    • Rhythm P.3 >
      • How to Create Rhythmic Interest on a Ballad
      • Metric Modulation over "Ask Me Now" (Part 1: 4 to 3)
      • Metric Modulation over "Ask Me Now" (Part 2: 3 to 4)
      • CRAZY Rhythmic Technique Creates Piano+Drums Connection
      • INSANE Trio Interplay (Starting & Stopping the Time)
      • 3 Levels of Jazz Basslines
      • CRAZ Duo Interplay (Piano+Bass)
      • 3 Ways to Connect with the Drummer in Your Jazz Solos
    • Rhythm P.4 >
      • 2 Rhythmic Feels on a Ballad
      • How Quoting Jazz Standards Can Create Piano+Drums Connections
      • Metric Modulation on a Jazz Ballad
      • Metric Modulation on "Everything Happens to Me" (3 to 4)
      • Bossa Nova Rhythmic Language You MUST KNOW!
      • Jazz Rhythmic Language You MUST KNOW!
      • 2 Bossa Nova Rhythmic Hits You MUST KNOW!
    • Rhythm P.5 >
      • How Listening Sparks MAGICAL Trio Interplay on "I'll Be Seeing You"
      • Jazz Rhythmic Language You MUST KNOW! (Part 2)
    • 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)
    • Piano Orchestration P.2 >
      • How to Orchestrate a Melody for Solo Piano (Have You Met Miss Jones)
      • How to Add Colors in Your Playing
      • 3 Ways to Fill When Orchestrating
      • What is Inner Tonal Movement?
      • Using the Bottom of the RH to Fill
      • Stride Piano SECRETS on "East of the Sun"
    • Piano Orchestration P.3 >
      • How to Orchestrate a Rubato Ballad (Everything Happens to Me)
      • How to Orchestrate an In-Time Ballad (Everything Happens to Me)
      • How to Orchestrate a Melody for Solo Piano (Girl From Ipanema)
      • How to Orchestrate a Melody for Solo Piano (Girl From Ipanema PART 2)
    • Intros/Outros >
      • Jazz Trio Intro EXPLAINED
      • Ahmad Jamal Ending Chords
      • How to End a Song Quietly
      • 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")
    • Intros/Outros P.2 >
      • The Magic of Circle of 5ths Endings
      • Classic Ending for Any Jazz Standard (#4 Ending)
      • How to Create an Elegant Intro ("Wave")
      • Ending Wave with a Reharmonized Cadenza
      • MUST KNOW Chord Progression to Create a Classic Jazz Intro
      • BLUES OUT on a 3625 Progression
      • Solo Piano Rubato Intro on "East of the Sun"
    • Intros/Outros P.3 >
      • Girl From Ipanema Vamp Intro Breakdown
      • Girl From Ipanema Reharmonized Ending
    • 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
    • Piano Technique P.2 >
      • 3 Piano Technique Tips - Lessons From Robert Estrin
      • How to Play FAST
      • Subtractions Practice Technique (for Syncopation & Hand Independence)
    • Composition/Arranging >
      • 3 Ways to Use Counterpoint in Jazz
      • 3 Tips When Composing an AABA Tune
      • Inspired by Ahmad Jamal's Poinciana ("Secret Love" arr. Bijan Taghavi Japan Trio)
  • Press
    • Interviews
    • Quotes
    • EPK
  • Contact

3 Ways to Fill When Orchestrating a Melody on Piano
​("Wave")


Download the PDF for this lesson:

Inner Tonal Movement, not to be confused with inner voice movement, can allow you to create time and motion in your music merely by DISPLACING the inner tones.

As a solo pianist it is essential to be able to keep a steady flow of time. Oftentimes, players who are coming from band settings will let the chord sit and hang there and in the process they lose that sense of time. With the inner tonal moves you are creating interest and establishing a pulse in your music by filling up the dead space. This is a powerful solo piano skill and will set your piano playing aside from a lot of others.

​Check out how this can be applied while orchestrating the melody the first 6 bars of "Wave".


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  • About
  • Media
    • CACTUS SESSIONS CD
    • Pianist
    • Educator
    • Composer/Arranger
    • Articles
  • Calendar
    • Upcoming Performances
    • Past Performances
  • Educator
    • Video Exchange Lessons
  • 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)
      • Have Yourself A Merry Little Christmas (Solo Piano)
      • Ask Me Now (Solo Piano)
      • Wave (Solo Piano)
      • East of the Sun (Solo Piano)
      • Everything Happens to Me (Solo Piano)
      • Girl From Ipanema (Solo Piano)
      • I Fall in Love Too Easily (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
    • Comping P.2 >
      • Comping Fill over Just Friends
      • Develop Your Rhythmic Vocabulary to Create Interplay (Bb Blues Comping)
      • Bossa Nova Duo Comping
      • Exchanging Ideas When Comping over a Ballad
      • LH Sweeping Texture on "Ask Me Now"
      • SECRET To Playing Bossa Nova Solo Piano
      • How Listening Fuels CREATIVITY
      • Why Your Left Hand is Failing You and How to Fix It (4 LH Comping Techniques over "Pent Up House")
    • 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)
      • How to Harmonize Every Melody Note with a New Chord
      • 3 Inner Voice Movements on "Wave"
      • 3 Ways to Create Motion
      • The SECRET to Creating LH Counterpoint like Bill Evans
      • Do You Know the Original Chord Changes to "Wave"?
    • Harmony P.3 >
      • How to Use Pedal Points (Part 1)
      • How to Use Pedal Points (Part 2)
      • 2 Ways to Use Pedal Points
      • Swing Like Bach: Contrary Motion in Your Improv
      • This Tritone Sub Got a 'Woo' From My Drummer!
    • 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?
      • 3 Tips for Soloing in 3/4
    • Improv P.5 >
      • How to Build Your Solo Using Motifs
      • Stop Time
      • 16th Note Line EXPLAINED (Have You Met Miss Jones)
      • 3 Substitutions over a 36251
      • Building a Jazz Solo
      • How to Play Fast Like Bud Powell
      • Up-Tempo Improv over "Donna Lee"
      • Playing the Blues
      • How to Start Your Solo
      • How to Interact with the Drums While Soloing
    • Improv P.6 >
      • Piano + Drums Duo?
      • The SECRET to Fluid Improvisation in 3/4
      • The Power of ACCENTS
      • How to Use This Duke Ellington and Thelonious Monk Improv Shape
      • The Piano is an Orchestra
      • The SECRET To Channeling McCoy Tyner
      • The Importance of DANGER in Improvisation?
      • The SECRET to Playing Fast Bebop Lines like Oscar Peterson
      • TASTEFUL Chordal Improvisation on "Wave"
      • The SECRET to Spontaneity in Jazz Improvisation
    • Improv P.7 >
      • 6 Ways to Create Tension-Release
      • 3 Ways to Create Your Own Jazz Lines!
      • Regular 2-5-1 vs Sidestep 2-5-1
      • Jazz Improv Tip: Get the Drummer Involved!
      • Jazz Improv Tip: Develop Your Ideas P.14
      • Interlocking Polychords
      • 2 SECRETS to Playing Fast Runs (Ala Mulgrew & Herbie)
      • Improv Analysis on "I'll Remember April"
      • Use Monk Clusters to Create HIP Phrasing
      • Take Your Phrasing to the NEXT LEVEL with this Simple Trick!
    • Improv P.8 >
      • How to Improvise on a SOLO BREAK
      • Jazz Improv Tip: Get the Drummer Involved (P.2)
      • Use Polychords to Create Harmonically RICH Improvisation
      • UNLOCK Up-Tempo Improv with Pentatonic Permutations
      • Keep Your Ideas Going to Achieve FLOW in Your Improvisation
    • 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")
    • Rhythm P.2 >
      • Jazz Slang P.2 - Double Time Feel EXPLAINED
      • 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
      • How to Swing
      • Communication on the Bandstand
      • Piano + Bass Rhythmic & Harmonic Telepathy (Part 10)
    • Rhythm P.3 >
      • How to Create Rhythmic Interest on a Ballad
      • Metric Modulation over "Ask Me Now" (Part 1: 4 to 3)
      • Metric Modulation over "Ask Me Now" (Part 2: 3 to 4)
      • CRAZY Rhythmic Technique Creates Piano+Drums Connection
      • INSANE Trio Interplay (Starting & Stopping the Time)
      • 3 Levels of Jazz Basslines
      • CRAZ Duo Interplay (Piano+Bass)
      • 3 Ways to Connect with the Drummer in Your Jazz Solos
    • Rhythm P.4 >
      • 2 Rhythmic Feels on a Ballad
      • How Quoting Jazz Standards Can Create Piano+Drums Connections
      • Metric Modulation on a Jazz Ballad
      • Metric Modulation on "Everything Happens to Me" (3 to 4)
      • Bossa Nova Rhythmic Language You MUST KNOW!
      • Jazz Rhythmic Language You MUST KNOW!
      • 2 Bossa Nova Rhythmic Hits You MUST KNOW!
    • Rhythm P.5 >
      • How Listening Sparks MAGICAL Trio Interplay on "I'll Be Seeing You"
      • Jazz Rhythmic Language You MUST KNOW! (Part 2)
    • 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)
    • Piano Orchestration P.2 >
      • How to Orchestrate a Melody for Solo Piano (Have You Met Miss Jones)
      • How to Add Colors in Your Playing
      • 3 Ways to Fill When Orchestrating
      • What is Inner Tonal Movement?
      • Using the Bottom of the RH to Fill
      • Stride Piano SECRETS on "East of the Sun"
    • Piano Orchestration P.3 >
      • How to Orchestrate a Rubato Ballad (Everything Happens to Me)
      • How to Orchestrate an In-Time Ballad (Everything Happens to Me)
      • How to Orchestrate a Melody for Solo Piano (Girl From Ipanema)
      • How to Orchestrate a Melody for Solo Piano (Girl From Ipanema PART 2)
    • Intros/Outros >
      • Jazz Trio Intro EXPLAINED
      • Ahmad Jamal Ending Chords
      • How to End a Song Quietly
      • 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")
    • Intros/Outros P.2 >
      • The Magic of Circle of 5ths Endings
      • Classic Ending for Any Jazz Standard (#4 Ending)
      • How to Create an Elegant Intro ("Wave")
      • Ending Wave with a Reharmonized Cadenza
      • MUST KNOW Chord Progression to Create a Classic Jazz Intro
      • BLUES OUT on a 3625 Progression
      • Solo Piano Rubato Intro on "East of the Sun"
    • Intros/Outros P.3 >
      • Girl From Ipanema Vamp Intro Breakdown
      • Girl From Ipanema Reharmonized Ending
    • 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
    • Piano Technique P.2 >
      • 3 Piano Technique Tips - Lessons From Robert Estrin
      • How to Play FAST
      • Subtractions Practice Technique (for Syncopation & Hand Independence)
    • Composition/Arranging >
      • 3 Ways to Use Counterpoint in Jazz
      • 3 Tips When Composing an AABA Tune
      • Inspired by Ahmad Jamal's Poinciana ("Secret Love" arr. Bijan Taghavi Japan Trio)
  • Press
    • Interviews
    • Quotes
    • EPK
  • Contact