The world of jazz can be an intimidating place for beginner musicians. Well, let’s be honest, it can be intimidating for advanced musicians too! Improvisation is an integral part of jazz that sets in apart from other genres but often people think that you fit in one of two camps: “musicians who can improvise”, and “musicians who can’t”. Fortunately though, improvisation is actually a skill that can be learned.

If you are a total beginner to jazz improvisation check out our previous tutorial on getting started improvising jazz for a summary of the basics.

We asked 13 of the top professional jazz musicians and educators:
Jazz Improvisation Ear Training Experts

“What ear training advice would you give to someone just starting out with jazz improvisation?”

These experts have studied and taught at the best music schools. They have written books on jazz, they run the most popular jazz education websites, and they have performed with some of the all-time jazz “greats”.

Read on to discover their insights on why ear training is so important, and which specific ideas, tools and exercises you should use to develop your own jazz improvisation skills.


  1. Martan Mann (JazzSkills for Piano)
  2. Matt Warnock (Matt Warnock Guitar)
  3. Denis DiBlasio (The Maynard Ferguson Institute of Jazz)
  4. William Flynn (Wichita State University)
  5. Mike Lebrun (The Woodshed)
  6. Chris Cooke (
  7. Dr. Ed Byrne (Byrne Jazz)
  8. Mark Meronek (
  9. Julian Bradley (Jazz Tutorial)
  10. Willie Thomas (
  11. Marc-Andrew Seguin (
  12. Steve Nixon (
  13. Camden Hughes (Learn Jazz Standards)
  14. Conclusion

Martan Mann (JazzSkills for Piano)


Ear training begins with the ability to recognize and label sounds and emotions. I recommend that you start by training yourself to name intervals. You can do this by thinking of the beginning intervals of various songs in all keys. If you know the names of the interval for each corresponding song, then you can recognize and name them when you recognize hearing the song’s first two notes.

Here’s a useful exercise: play a Dominant Seventh to Major (or Minor) Triad over and over in every inversion and in every key. The V7 to I resolution is the Authentic Cadence in classical training. Play any tones of the chord across the entire keyboard until you can easily recognize the emotion and tension release in any song. This is everywhere in music.

→ Learn more about intervals and chord progressions

Martan Mann is the author of three books on jazz improvisation and an online jazz piano course: “JazzSkills for Piano”. The books are “Jazz Improvisation for the Classical Pianist”, “New Age Improvisation for the Classical Pianist” and “Improvising Blues Piano”. Martan has an MA in music and is a long-time piano teacher and jazz performer in the San Francisco Bay Area. You can learn more at his website,

Matt Warnock (Matt Warnock Guitar)


This may seem like a strange answer, but improvising from memory rather than looking at a written chart is the best approach to ear training for beginning jazzers.

When people make mistakes and they’re reading, they look “outside” themselves for the answer, on the page. But if they’re playing from memory they look to their ears, “inside” themselves for the answer.

It may seem like a small thing, but this approach builds a solid foundation between a player’s ears and hands, one they can build upon when they get into transcribing and other advanced ear training exercises.

Matt Warnock is the owner of Matt Warnock Guitar, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. He believes that everyone can learn to play jazz guitar, and have fun in the process. He has published nine jazz guitar eBooks, including the best-selling 30 Days to Better Jazz Guitar.

Denis DiBlasio (Maynard Ferguson Institute of Jazz)

Denis_DiBlasioBe able to hear intervals.

How do you do that?

Play a simple melody slowly in different keys (or just starting on different notes). This helps the inner ear learn to “take aim” at the next note. This works like a skeet shooter aiming and firing at a flying clay pigeon.

Doing this technique slowly allows the next note to sound internally in the inner ear, becoming the target. Your instrument is the gun that shoots and hits that target. With practice this skill improves until the target can be hit directly almost every time. Many players are really great – and I mean really great – at this!

This is the type of ear training that helps a player survive in the real playing world. If you can recognise intervals and hear a melody you can get to the point where you can easily play that melody in all keys.

→ Learn more about intervals