Music is universal—and one of the biggest mistakes a musician can make is locking themselves into just one style. The moment you only listen to one genre is often the moment you stop growing. Real jazz education comes from embracing everything: classical music, Brazilian music, Cuban music, tango, standards, bebop—everything.
In this video, we dive deep into one of the most powerful melodic devices in jazz improvisation: chromatic enclosures of a dominant 7(b9) chord. To explore this, we look at six incredible tunes from six different countries—written centuries apart—all featuring the very same chromatic enclosure. It’s amazing.
From Mozart to Sinatra , this same melodic idea appears again and again, proving that great music shares the same deep language.
The tunes we explore are:
• Mozart — Germany (1783)
• Tico-Tico no Fubá — Brazil, written by Zequinha de Abreu (1917)
• Veinte Años — Cuba, written by María Teresa Vera (1935)
• Flor de Lino — Argentina, composed by Héctor Stamponi (1947)
• I’m a Fool to Want You — USA (1951)
• Made in France — France, by the great Bireli Lagrene (2001)
Same enclosure. Same emotional power. Different countries. Different centuries.
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My name is Nick Homes. I am a non genius musician who struggled for many years to find out the secrets of jazz improvisation. Throughout 40 years of playing, and obsessive investigation I have focussed on building systems of learning for my students so they can improve , and reach their learning goals with the highest probability whilst having fun!
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