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Cello Lessons: “Money in the Pocket” (Beginner Jazz Tune)

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Money in the Pocket.
It's a really grooving tune.
I learned from the recording by Cannonball
Adderley, and what's good about this tune
is it's gonna get us Into improvising, and
into grooving, and into four bar phrases.
However, we're gonna be able to
stay on one chord for this tune.
We can stick to one scale.
And so this is a great,
great start to learning how to play and
improvise in jazz.
Also, because this is a new approach for
I'm gonna teach you the baseline
before I teach you the melody, okay?
So that we get a feel for the groove.
The bassline is in C minor and it just
is a repeated bar that sounds like this.
That's four bars
of this bass line.
Okay, so it's open C,
then fourth finger, then open G,
and then we're gonna do
a little chromatic walk-up.
Do two, three, four.
We're gonna be pizzing all of this
like a jazz bass player would.
Try and play it after me.
Okay, let's do that four times in a row
and that will be the whole
first phrase of this tune.
Two, three, four.
Let's do it
four more times for
the second phrase.
That's the second phrase, okay?
Now, one thing I'll say about
the way we're pizzing the string is
a big difference between jazz bass
pizzicato and classical pizzicato.
In a classical piece, when we pizz,
we would be wanting to have
a lot of resonance in the sound.
So we would actually lift our hand even.
[SOUND] And try and
really get a lot of resonance.
[SOUND] We would pizz up, however,
in jazz we want kind of a thuddy
core sound to our pizzicatto,
like a bass player going
through a pick up.
So instead of pizzing up, we're gonna
anchor our hand on the fingerboard
with our thumb and
where going to pizz sideways.
So we don't get as much resonance, but
we get a strong chord of the sound.
Just keep that in mind as
we're working on the baseline.
We've got the first two phrases already
which are simply two four bar phrases of
this C minor riff.
The final phrase has some hits in it.
A hit is when the whole band like hits
a chord, and then there's like a silence.
So the hits sound like this.
One, two, three, four.
One, two, three, four, okay?
So we're hitting B-flat and then G.
And it's going to be in this rhythm.
Bump, two, three, four, bump, bump.
And actually what I was saying about
resonance earlier, is we want to stop
the string from vibrating,
after we hit that B flat.
The way we're gonna do that is by
releasing the pressure of the second
finger, off of the string.
If I leave my second finger down
we get a resonance.
However if I release my finger
immediately, you'll hear the sound stop.
Do you hear the difference?
Say yes.
That's a good bass sound.
And so we're gonna do that for the B flat.
Two, three, four.
[SOUND] And then for the G, we have to
kind of manually damp the string with
the left hand cuz it's an open string so
we can't release it.
But we can dampen it.
So we want to dampen in rhythm.
Like that.
Let me play the hits, and
then I want you to play them back to me.
Two, three, four.
Two, ready play.
Two, three, four.
Two, ready, and.
Okay, so those are the hits.
And then we finish with
four more bars of C minor.
With a final hit in the last bar.
So the last four bars sound like this.
Three, and get ready to hit.
And there's a break in that last bar.
The whole last phrase,
which is actually six bars long,
because we've got these two hits,
sounds like this.
I'll play it once and join me.
Three, four.
One, two, three, four.
Two, three, four.
Ready to hit two, three,
four, and
then we're back at the beginning.
So, that's the whole form.
We've got two four bar phrases in C minor.
We've got one bar hit of B flat,
one bar hit of G,
and then four more bars of C minor.
I want you to play the baseline
along with the backing track so
you get used to hearing the form and
grooving along.
But right now, I'm gonna move on and
teach you the melody.
The melody has a simple riff, and
it's gonna be an identical first
phrase to the second phrase.
And the melody starts right after
the downbeat, so we're gonna start up bow.
It sounds like this.
Three, four, one.
Two, three, four, one.
That's the whole first phrase.
So we're resting on
the down beat on beat one.
And then we play rest.
One, one, four, one, four, four.
The only slur is on that next down beat.
four, four, down, up, down, up, okay?
Play that first phrase right after me.
Three, four, one.
Play that Go!
That last note can be pretty short,
we want to have it be crisp and rhythmic.
So then it has the answering
phrase is simpler.
It's just that.
Let's play that together.
Three, four, rest.
I'm gonna put these two together.
Why don't you join me the second time?
Of course, you could always sing or
finger along the first time.
Three, four, one.
Three, four, rest.
Let's do that together, and one.
Three, four, rest.
So that's just gonna happen just
like that two times through.
In that second half of that phrase I'm
noticing that sometimes I'm slurring and
sometimes I'm not.
When I do slur I slur here.
So we have a down, up.
You can play it separate or
you can slur or
you can change it as you feel comfortable.
Let's play the first and
second phrase together.
They're both the same, but lets do it so
we get a fill for the form.
Two, three, four, one.
Three, four, one.
Two, the whole thing again.
Three, four, one.
Two, three, four.
That's where we get the B flat hit.
And right after that hit,
we're gonna play this little riff.
It's a little trill, low one and open D.
I'll play it again.
Let's play that together.
Three, four, one.
Let's do it again.
Three, four, one.
And then we have the hits going to G
chord, and over the G chord,
we play this riff.
One, two, one,
four, four, two, four.
Listen one more time,
sing along, and rest.
[SOUND] Let's play that together.
It ends up, down, okay?
Let's play it together.
Three, four, one.
[SOUND] Up, down.
Let's play that one more time.
Three, four, rest.
[SOUND] Let's put both of these phases
together in the third big phrase.
On the B flat, starts with this.
Let's play that together.
Three, four, one.
Now on the original recording by
Cannonball Adelie, the horn players
when they land here on that note
they kind of do this [SOUND] they kind of
do a slide and
just kind of makes some crazy noises.
And I want us to do the same thing,
but even crazier.
So, when I did the performance video for
this, I kinda played like this.
I just kinda slid my finger up
the G-string while moving my bow
really fast, back and forth.
When you move your bow back and
forth, really fast,
it has an Italian word called tremolo.
That's the tremolo technique.
And when you slide up,
you can slide with any finger.
You can make any sounds.
Actually you can explore
great,great sounds this way.
Try just moving the bow down and
up as fast as you can.
Open G.
Another cool place.
If you change the bow placement
all the way down to the bridge,
we're gonna get a sound quality that has
another Italian name called ponticello,
and that sounds like this.
Either of these sounds is awesome.
And if we slide up,
while we play the tremolo,
we're gonna get some really cool affects.
It sounds like this.
You can keep going as high as you want.
And you can even cross
over to other strings.
Okay, you can add that to your free
improvisation warm-ups in the morning.
That's just gonna be a little crazy
flourish at the end of this melody.
Let's play the whole last line,
starting from
and we'll end with some crazy sounds,
Two, three, four.
Crazy sound.
Very good.
So, you can do any crazy sound.
You don't even have to slide, if you want.
You could just move the bow to that
ponticello sound and just hold the note.
That kinda sounds scary and
creepy like that.
But you can experiment with different bow
placements to see what
kind of sounds you get.
We've learned the whole melody now.
I want you to try playing along with the
performance track with the whole melody.
But right now in the lesson,
I wanna move on to improvising
four-bar phrases in C minor over
the chord progression, okay?
So, I'm gonna get the backing
track cued up, and
I'm just gonna just play four-bar phrases,
using the C minor scale that we were
practicing in a previous lesson.
>> One, two.
>> Four bar phrases, one.
Have to keep playing to there.
Now here's the second phrase.
One, two,
three, four.
Now we've got the hits, another hit,
and then we end with
another four-bar phrase.
Let's try it again.
Count with me.
Four-bar phrase, number two.
Second bar.
Now we got the hits.
Doing a little ponticello sound,
just holding a cool note.
Maybe vibrating.
Let me demonstrate once more.
Now the next four-bar phrase.
Now hits.
Maybe I'll
vibrate really wide.
So if you practice
improvising four-bar phrases with
the drone and metronome in C minor,
you'll start to feel really comfortable
with these four-bar phrases.
But you're gonna find the groove that
the band is playing really inspiring.
And I want you to explore making
these four-bar phases, and also,
particularly on that final four-bar phase,
after the hits,
exploring some really cool sounds
with tremolo and ponticello and
maybe just holding a long note and
just vibrating really wide.
I'm making this face.
That's a good jazz face.
You'll want to learn that face.
The last thing I wanna show you with Money
in the Pocket, is one more scale that
is gonna sound really jazzy, okay.
So, we've been playing in C minor,
actually the natural minor scale,
which has a fancy Greek name of Aeolian.
I always push up my fake glasses when
I use Greek words for the scales, but
they're really helpful to tell the
difference because there's only one note
we're gonna change to go from the C
natural minor, or Aeolian scale
to transform it into a different type
of C minor scale, the Dorian scale.
The note we're gonna change
is the sixth scale degree
is gonna go from a flat
six to a sharp six.
And in the key of C,
what is the sixth scale degree?
If we count up one, [SOUND] two, [SOUND]
three, [SOUND] four, [SOUND] five [SOUND].
It's A flat in C minor, but
when we sharp it in Dorian,
it becomes A natural.
And then we finish the scale like before.
So let me play the C Dorian scale,
one octave up and down, so
you hear the difference.
If I play it in the upper octave,
what it's gonna do is it's gonna
allow us to use the open A string,
instead of doing that slightly
awkward shift up to the A flat.
That will sound like this.
Open A.
This is a new scale, so I'm gonna want you
to practice this with the drone and
the metronome,
and also practice
improvising with the clicks,
just like we did with the C natural
minor scale in a previous lesson.
After you do that,
we can apply it to Money in the Pocket.
I'm gonna try and practice four-bar
phrases in Money in the Pocket, but
I'm gonna use the Dorian scale and try and
feature that new note, the A natural,
and I want you to see how that can
change the feeling of this tune and
even make it more jazzy.
>> One, two, one, two, three, four.
>> C-Dorian.
You see how different of a flavor just
changing one note can make in a scale.
That's why it's really important
to learn the names of them so
you can really identify and
hear the differences between them.
In the performance track that I did for
Money in the Pocket, you'll notice that I
play the melody first, then I improvise
in C natural minor, C aeolian.
And then the second solo's time through,
I played in C Dorian, and
I changed all the A flats to A natural,
then I played the melody again at the end.
That's your standard jazz form.
Whenever you play a jazz tune, you're
always gonna play the melody once or
twice at the beginning, and
then you can solo as long as you want,
you can have as many people
solo as long as you want, but
in order to end the tune you'll play
the melody once more at the end.
This backing track goes
through the tune four times so
it will give you the opportunity to
improvise the middle two times through.
An entire time through the melody
is called a chorus, so
you can take two choruses of solo.
I'm really looking forward to hearing
you improvise four-bar phrases
in C-natural minor, and
also C-Dorian for Money in the Pocket.