10 Jazz Hanon Exercise for Beginner ~ Intermediate 

Is there other video of jazz hanon that you made so that you would give me its link and i watch it?

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There are actually two more Jazz Hanons (I own them all). By Misha Stefanuk and the other by Jerome Gray who also wrote some other interesting hard to find titles; Jazz Czerny, and Jazz Bach. And for those interested in Hanon outside of jazz there's a real nice one; Hanon Revisited, which focuses on 7th chords and melodies in both hands (only for the brave, this is for intermediate and up).

@@tropicvibe Thanks TropiCool. I'll see if I can find those books on Amazon or Ebay.

Deneff has also published a « Modal Hanon » which is great stuff if you work at it. Published with Hal Leonard.

Tbf its just a 5 note pattern that you can ascend in semitones, so it’s not actually that difficult. It takes some getting used to it tho

Well I quit guitar and went back to piano FOREVER.

Hear the root of every chord. Just be aware that C is the tonic and that you’re most likely going to end in C.

Also be aware of how each chord sounds in relation to C major

@@zacharymckinnon6832 how do I be aware of how each chord sounds in relation to C major when the tonal center in my ear is focused on the root of the chords? Do I need to keep track of multiple tonal centers in my head somehow?

@@mg6192 "The tonal center in my ear is focused on the root of the chords" is a sentence that doesn't make sense. The tonal center is a property of the music, not your ear, and it can't focus on anything, but is your ear's response to the music. Progressions like the one in Exercise #1 are tonal music with a clear tonal center, so you naturally hear the tonal center in C throughout the exercise. If the progression goes Dm7 - G7 - Cmaj7 - A7, it's in C major, and the tonal center is C, and each chord functions in a way that relates to C (the progression is ii-V-I-VI where the C chord is I). Notice how when you hear the G7 before the Cmaj7, it sounds tense and your ear "wants" it to resolve to Cmaj7. That is your ear "hearing the tonal center" of C even when a chord that isn't Cmaj7 is being played. And if you extend that to the Dm7 before the G7, you can hear that Dm7 doesn't feel like home, but it's on its way home. Contrast that with a tune in D minor, where Dm7 *does* feel like home, or a blues in G where G7 feels like home. Usually your ear figures this out automatically so you don't really have to spend effort on it; it's only when the tonal center is a bit unclear to you that you might want to focus on listening for it (there are tunes with harmony that moves around a lot and sometimes your ear loses track of the tonal center).

@@75kpos so like in the video, if the key is C major and we are on Dm7 chord and playing the D Dorian scale over this chord, I am supposed to keep C internalized as the tonal center instead of D?

Probably haha

I think so as well

(writing from Canada)

You're correct, C mixolydian ♭13 is those notes. Imagine the C major scale as 1, 2, 3, 4, 5, 6, 7. If you have an A♭ and a B♭, you could write that scale as 1, 2, 3, 4, 5, ♭6, ♭7. That's the formula for a mixolydian ♭13. Now transpose that to A. So if A major is A-B-C♯-D-E-F♯-G♯, and a mixolydian ♭13 scale involves flatting the 6 and 7, then A mixolydian ♭13 will be A-B-C♯-D-E-F-G. If you look at the sheet music, Jimin is playing an F and a G over the A7. From the perspective of the chord root A, an F is a ♭6 (♭13) interval and a G is a ♭7 interval.

@@75kpos Alright, that helps clear things up a bit. Thank you!

I bought it with no facebook create a account with jimi than you can use a visa I got this and 251 voicing its excellent

It’s only the c scale free….i bought the 22 page book for ten euro and it’s well worth it, 10 euro is very reasonable