1 | Lesson: 15 | Step 1 – (Theory) The jazz blues contains certain sets of harmonic changes that weren’t used when the blues was first created. These jazz blues include only a couple of 2-5’s but make a HUGE difference in the sound.
Stage 1 | Lesson: 16 | Step 1 – (Theory) The blues boogie is an old style that was being played when rock n’ roll first emerged on the scene. The LH is VERY active in this style so if you’re technique isn’t up to par yet I would recommend passing on this style for now.
Stage 1 | Lesson: 16 | Step 2 – (Theory) The blues stride is a fantastic style to playing the blues. Stride itself is a style on it’s own but can be applied to playing the blues to create a beautiful atmosphere and sound.
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 6 – (Theory) We’re now on to rootless voicings structure 2. This is simply and inversion of structure 1. Instead of starting our 2-5-1 with the 3rd on the bottom, we now start with the 7th on the bottom.
Stage 1 | Lesson: 16 | Step 7 – (Technique) Besides being a fantastic tune, “Joy Spring” is a technical exercise masterpiece. With all the trills, sixteenth notes, and key changes, this is sure to increase your jazz language, dexterity, and control.
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: 16 | Step 1 | Step 9 – (Repertoire) Practice the integration of LH comping into the tune “What Is This Thing Called Love”.
1 | Lesson: 15 | Step 1 – (Theory) The jazz blues contains certain sets of harmonic changes that weren’t used when the blues was first created. These jazz blues include only a couple of 2-5’s but make a HUGE difference in the sound.
Stage 1 | Lesson: 16 | Step 1 – (Theory) The blues boogie is an old style that was being played when rock n’ roll first emerged on the scene. The LH is VERY active in this style so if you’re technique isn’t up to par yet I would recommend passing on this style for now.
Stage 1 | Lesson: 16 | Step 2 – (Theory) The blues stride is a fantastic style to playing the blues. Stride itself is a style on it’s own but can be applied to playing the blues to create a beautiful atmosphere and sound.
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 6 – (Theory) We’re now on to rootless voicings structure 2. This is simply and inversion of structure 1. Instead of starting our 2-5-1 with the 3rd on the bottom, we now start with the 7th on the bottom.
Stage 1 | Lesson: 16 | Step 7 – (Technique) Besides being a fantastic tune, “Joy Spring” is a technical exercise masterpiece. With all the trills, sixteenth notes, and key changes, this is sure to increase your jazz language, dexterity, and control.
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: 16 | Step 1 | Step 9 – (Repertoire) Practice the integration of LH comping into the tune “What Is This Thing Called Love”.
