Practical Ear Training for Advanced Jazz Improvisation and Harmony || Jazz Guitar Lessons Daily 2

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From our free, Jazz Guitar Lessons Daily Series: Lesson 2
Tuesday - Melodic Ear Training
1/12/21

Polytonality is the simultaneous use of two or more keys. In other words it means, multiple tonalities. It can seem like a really complicated topic. I remember being mystified by the idea for many years before my teacher Stefon Harris made it all seem so simple.

By sitting at the piano and studying “advanced” jazz harmony at the piano rather than on the fretboard, I noticed that the voicings we were looking at were all constructed with a basic shell voicing (1-3-7) with my left hand and a basic triad (1-3-5) in my right hand. This is near impossible to visualize on the fretboard until you know exactly what to look for. But it’s blatantly obvious when you’re looking down at your two hands on the piano and can clearly see two very simple things, one in each hand, which when played together create rich, Bill Evans-esque harmony.

Now getting that onto the guitar, that takes some creativity and determination. But that another story. One which we cover in-depth in The Melodic Triads Study Group. One thing at a time.

I think what makes polytonality seem so difficult for today’s guitar player, aside from us not having the two different hands to look at like our piano player friends, is that we attempt to learn this stuff from an academic and intellectual point of view. Much like I point on regarding most musical concepts, I have a fundamental disagreement with how it’s taught. It’s all backwards. We learn from books, memorizing theory, absorbing mathematical ideas and formulas, vocabulary words, and constructing philosophical ideas about how music is supposed to work. The assumption, often times left unsaid, is that once you understand it, then you can learn to make music with it.

Yes and no. But we leave out the most important element. Sound. Hearing and experiencing new ideas with our ear is like a culinary student tasting a new flavor. Too often THIS part of music education gets forgotten. College music departments, they need objective standards by which they can test and measure your progress. YouTube teachers, they need specific topics to cover in their lesson plan so they can take that particular chapter from a theory book and turn it into a short and concise video lesson. This is like a culinary student trying to learn to cook from reading a book about ingredients. Yes, this can be extremely helpful. Knowledge is important. But if I were to ever become a professional culinary arts teacher, I would introduce new topics by FIRST having each student smell, touch, and taste a new ingredient. Have them talk about the experience of each. Describe it. What does it remind them of? A childhood memory perhaps? Do they like it? Love it? Hate it? What is THEIR personal experience like? Then we can talk about what it is, how to best prepare it, what other ingredients it mixes well with, etc. I would much prefer to eat...


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