Course Categories: improvisation

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* Brenden Lowe

Step #9 – Hexatonic Altered Chords (bV, bVI)

Stage 5 | Lesson: 45 | Step 9 – (improvisation) As I mentioned before, it’s very important to hear all the individual extensions as they produce very distinct colors. At first they might sound the same but after you spend more time with them you’ll begin to hear how different and distinct they are.

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* Brenden Lowe

Step #7 – Hexatonic -7b5 Chords (bVII, Io)

Stage 5 | Lesson: 44 | Step 7 – (improvisation) I love the texture that his hexatonic sound produces because of the natural 11 that contrasts with the b5. You’ll be using both of the those colors when using these two triads and they create a nice blend of natural tension.

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* Brenden Lowe

Step #10 – Hexatonic Major 7th

Stage 5 | Lesson: 42 | Step 10 – (improvisation) In this step we’re improvising over a major7th chord using the 3 and #6 diminished triad. Be sure you have both of these triads down cold before beginning this step.

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* Brenden Lowe

Step #13 – 3-4 Improv

Stage 5 | Lesson: 41 | Step 13 – (improvisation) Improvisation in a 3/4 time signature usually takes so time to get used to. Practice feeling the 3/4 as two dotted quarters to help you sub divide the measure if your soul is feeling off by the odd number of beats.

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* Brenden Lowe

Step #6 – Hexatonic Major 7th Chords Improv

Stage 4 | Lesson: 39 | Step 6 – (improvisation) In this step we’ll be using a major 7th hexatonic scale to improvise with. The 13 and #11 provide the same colors as a lydian scale used over a major 7th chord so you need to make sure you emphasize the triadic motion in order to switch things up.

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* Brenden Lowe

Step #6 – Hexatonic Minor 7th Improv

Stage 4 | Lesson: 38 | Step 6 – (improvisation) The improvisation process with this hexatonic scale won’t produce a drastic sound that you’re unfamiliar with. This is because it is utilizing the same notes from the dorian mode.

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Course Categories: improvisation

Choose a search result from below.

* Brenden Lowe

Step #9 – Hexatonic Altered Chords (bV, bVI)

Stage 5 | Lesson: 45 | Step 9 – (improvisation) As I mentioned before, it’s very important to hear all the individual extensions as they produce very distinct colors. At first they might sound the same but after you spend more time with them you’ll begin to hear how different and distinct they are.

Enter Now »
* Brenden Lowe

Step #7 – Hexatonic -7b5 Chords (bVII, Io)

Stage 5 | Lesson: 44 | Step 7 – (improvisation) I love the texture that his hexatonic sound produces because of the natural 11 that contrasts with the b5. You’ll be using both of the those colors when using these two triads and they create a nice blend of natural tension.

Enter Now »
* Brenden Lowe

Step #10 – Hexatonic Major 7th

Stage 5 | Lesson: 42 | Step 10 – (improvisation) In this step we’re improvising over a major7th chord using the 3 and #6 diminished triad. Be sure you have both of these triads down cold before beginning this step.

Enter Now »
* Brenden Lowe

Step #13 – 3-4 Improv

Stage 5 | Lesson: 41 | Step 13 – (improvisation) Improvisation in a 3/4 time signature usually takes so time to get used to. Practice feeling the 3/4 as two dotted quarters to help you sub divide the measure if your soul is feeling off by the odd number of beats.

Enter Now »
* Brenden Lowe

Step #6 – Hexatonic Major 7th Chords Improv

Stage 4 | Lesson: 39 | Step 6 – (improvisation) In this step we’ll be using a major 7th hexatonic scale to improvise with. The 13 and #11 provide the same colors as a lydian scale used over a major 7th chord so you need to make sure you emphasize the triadic motion in order to switch things up.

Enter Now »
* Brenden Lowe

Step #6 – Hexatonic Minor 7th Improv

Stage 4 | Lesson: 38 | Step 6 – (improvisation) The improvisation process with this hexatonic scale won’t produce a drastic sound that you’re unfamiliar with. This is because it is utilizing the same notes from the dorian mode.

Enter Now »
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