Most Popular Lessons

Ok this is super challenging. Here’s what I did. I recorded the vibes first with no click track and then I added bass after. This was HARD.

The lesson is

Beginners

• To memorize the melody
• Record the melody then do something over top of it. Snap your fingers on 2 and 4. If you play drums get brushes and play along, or do what I did and that is to play a bass line.

Advanced

🚨 Tune Deep Dive: “Wave” – Pt. 7: Harmonic Tension & Resolution 🚨

In Part 7, we shift focus to tension notes and their resolutions. By weaving in altered tones (♯11, ♭9, and other upper extensions), you’ll hear how dissonance naturally pulls toward resolution. This creates expressive solo lines that sound deeply connected to the harmony instead of just running scales.

In this lesson we’ll:

I'm just talking through the tune Peace. My 2 cents kind of thing!!!

Check out the attached PDF!

Here's what you do. Don't look at the files that say 'dont-look' download the other ones first. Take the sheet music and add your voicings to stella. Learn and and play and hopefully post it here. 

After that and ONLY after that, download the don't look files and see what voicings I used. Check out what's similar and what's different. Let me know how you do and what you think. 

Workshop Recap - 3rds and 7ths Pt. 2 by Behn Gillece

Check out the attached PDF!

🚨 Feeling in 3 – Pt. 1: Comping in 3/4 🚨

We’re kicking off this new series by exploring comping rhythms in 3/4, one of the most versatile and expressive time feels in jazz. This lesson focuses on short ii–V progressions that develop your sense of pulse, articulation, and balance between hands.

In 3/4, it’s easy to think in strict “1–2–3,” but the best players treat each measure as a flowing three-beat phrase. By practicing these patterns slowly and evenly, you’ll build a natural, swinging pulse that feels relaxed and centered.

In this section, we continue with the F#7–B7–E7–A7–D7–G7–C7–F7 progression in measures 1-4, but with a simplified rhythmic approach. Rather than relying on continuous eighth-note lines, this version demonstrates how to outline the changes effectively with more space and varied rhythmic phrasing.

🚨 Playing in 3/4 – Pt. 3: Melodic Shapes and Flow

In Part 3, we move from comping to linear phrasing, focusing on short melodic shapes that naturally fit the 3/4 feel. These lines are designed to help you internalize how melody flows within triple meter—each phrase should feel like a complete, three-beat gesture rather than a sequence of notes.