Stage 1 | Lesson: 16 | Step 3 – (Improvisation) The basic mixolydian mode is always a viable option when it comes to blues improvisation. It’s hard to get used to the sound of this because it may sound bland at first compared to the other blues scales. Although after you get used to it you can create some really pretty sounds.
Stage 1 | Lesson: 16 | Step 4 – (Improvisation) This is one of my most favorite blues scale that Oscar Peterson has made very famous and popular. The sound of the natural 6th gives a softer, more beboppy sound than the b7 which is a little more harsh and blusey.
Stage 1 | Lesson: 16 | Step 5 – (Improvisation) The full major blues scale is my own creation. If you use this terminology in the jazz world they won’t know what you’re talking about. This is an incredibly useful scale that creates a sound almost all jazz pianists are looking for.
Stage 1 | Lesson: 16 | Step 8 – (Improvisation) In this step we’re focusing on our LH comping while our RH is improvising. Most students can play hands apart at a high level but when combining them, things seem to go wrong.
Stage 1 | Lesson: 15 | Step 6 – (Improvisation) Once students learn what notes to use when improvising, most of the time they have no idea what to do with them. Myself included when I first started. In this step will review some beginning improv textures that can be used to create an interesting and compelling solo.
Stage 1 | Lesson: 15 | Step 8 – (Improvisation) These LH comping rhythms will add flavor, spice, and most importantly, swing to your improvisation. Remember, it’s not ALWAYS about what your RH plays. Your LH is the foundation to the lines your RH plays.
Stage 1 | Lesson: 14 | Step 5 – (Improvisation) The ability to develop and build your solos will be strictly based off of how well you can create and play motifs. In this step, you’ll work on creating melodic motifs in your improvisation so that you can take one idea and expand upon it.
Stage 1 | Lesson: 14 | Step 6 – (Improvisation) Rhythmic motifs are just as important and useful as melodic motifs. They are exactly what they sound like. Instead of focusing on melodies, you’re focusing your patterns on rhythms.
Stage 1 | Lesson: 13 | Step 10 – (Improvisation) There are better strategies for integrating licks into tunes and that is exactly what we’re going to cover in this particular step.
Stage 1 | Lesson: 13 | Step 9 – (Improvisation)
Stage 1 | Lesson: 16 | Step 3 – (Improvisation) The basic mixolydian mode is always a viable option when it comes to blues improvisation. It’s hard to get used to the sound of this because it may sound bland at first compared to the other blues scales. Although after you get used to it you can create some really pretty sounds.
Stage 1 | Lesson: 16 | Step 4 – (Improvisation) This is one of my most favorite blues scale that Oscar Peterson has made very famous and popular. The sound of the natural 6th gives a softer, more beboppy sound than the b7 which is a little more harsh and blusey.
Stage 1 | Lesson: 16 | Step 5 – (Improvisation) The full major blues scale is my own creation. If you use this terminology in the jazz world they won’t know what you’re talking about. This is an incredibly useful scale that creates a sound almost all jazz pianists are looking for.
Stage 1 | Lesson: 16 | Step 8 – (Improvisation) In this step we’re focusing on our LH comping while our RH is improvising. Most students can play hands apart at a high level but when combining them, things seem to go wrong.
Stage 1 | Lesson: 15 | Step 6 – (Improvisation) Once students learn what notes to use when improvising, most of the time they have no idea what to do with them. Myself included when I first started. In this step will review some beginning improv textures that can be used to create an interesting and compelling solo.
Stage 1 | Lesson: 15 | Step 8 – (Improvisation) These LH comping rhythms will add flavor, spice, and most importantly, swing to your improvisation. Remember, it’s not ALWAYS about what your RH plays. Your LH is the foundation to the lines your RH plays.
Stage 1 | Lesson: 14 | Step 5 – (Improvisation) The ability to develop and build your solos will be strictly based off of how well you can create and play motifs. In this step, you’ll work on creating melodic motifs in your improvisation so that you can take one idea and expand upon it.
Stage 1 | Lesson: 14 | Step 6 – (Improvisation) Rhythmic motifs are just as important and useful as melodic motifs. They are exactly what they sound like. Instead of focusing on melodies, you’re focusing your patterns on rhythms.
Stage 1 | Lesson: 13 | Step 10 – (Improvisation) There are better strategies for integrating licks into tunes and that is exactly what we’re going to cover in this particular step.
Stage 1 | Lesson: 13 | Step 9 – (Improvisation)
