Stage 2 | Lesson: 24 | Step 8 – (Repertoire) The last step to creating bass lines will be the addition of diatonic movement. Diatonic movement is what will make your bass lines sound fluid and smooth.
Stage 2 | Lesson: 24 | Step 9 – (Repertoire) In this step we’re implementing our double chromatic approach into the tune we’ve been working on, “Autumn Leaves”.
Stage 2 | Lesson: 24 | Step 5 – (Theory) Creating diatonic movement within your bass lines is how we’re going to connect our bass lines together. You can think of the diatonic movement as the glue that holds everything together.
Stage 2 | Lesson: 24 | Step 6 – (Improvisation) Here we’re going to begin practicing our double chromatic approach in a control environment with 2-5-1’s.
Stage 2 | Lesson: 24 | Step 7 – (Repertoire) In this step we’re applying everything we’ve learned in our solo piano series into the tune “Autumn Leaves”.
Stage 2 | Lesson: 24 | Step 2 – (Theory) This is an extremely important bebop approach that you’re going to hear A LOT! Once you play it for the first time you’re going to say, “Oh my god…yes…that is the bebop sound!”
Stage 2 | Lesson: 24 | Step 3 – (Technique) The double chromatic line is an extremely important bebop approach in your improvisation toolbox. We’ll be covering how and when you can use this.
Stage 2 | Lesson: 24 | Step 4 – (Repertoire) In this step will review everything we’ve learned in our solo piano series and also go over some final thoughts.
Stage 2 | Lesson: 23 | Step 3 – (Theory) The 3rd step in adding on to our bass lines will be integrating a half step below approach to the chord tone we’re targeting.
Stage 2 | Lesson: 23 | Step 4 – (Theory) Don’t freak out when you hear the word tenths. There are a lot of ways to utilize this strategy even if you cannot reach them. Tenths allow for many opportunities in jazz piano even if you roll them or jump.
Stage 2 | Lesson: 24 | Step 8 – (Repertoire) The last step to creating bass lines will be the addition of diatonic movement. Diatonic movement is what will make your bass lines sound fluid and smooth.
Stage 2 | Lesson: 24 | Step 9 – (Repertoire) In this step we’re implementing our double chromatic approach into the tune we’ve been working on, “Autumn Leaves”.
Stage 2 | Lesson: 24 | Step 5 – (Theory) Creating diatonic movement within your bass lines is how we’re going to connect our bass lines together. You can think of the diatonic movement as the glue that holds everything together.
Stage 2 | Lesson: 24 | Step 6 – (Improvisation) Here we’re going to begin practicing our double chromatic approach in a control environment with 2-5-1’s.
Stage 2 | Lesson: 24 | Step 7 – (Repertoire) In this step we’re applying everything we’ve learned in our solo piano series into the tune “Autumn Leaves”.
Stage 2 | Lesson: 24 | Step 2 – (Theory) This is an extremely important bebop approach that you’re going to hear A LOT! Once you play it for the first time you’re going to say, “Oh my god…yes…that is the bebop sound!”
Stage 2 | Lesson: 24 | Step 3 – (Technique) The double chromatic line is an extremely important bebop approach in your improvisation toolbox. We’ll be covering how and when you can use this.
Stage 2 | Lesson: 24 | Step 4 – (Repertoire) In this step will review everything we’ve learned in our solo piano series and also go over some final thoughts.
Stage 2 | Lesson: 23 | Step 3 – (Theory) The 3rd step in adding on to our bass lines will be integrating a half step below approach to the chord tone we’re targeting.
Stage 2 | Lesson: 23 | Step 4 – (Theory) Don’t freak out when you hear the word tenths. There are a lot of ways to utilize this strategy even if you cannot reach them. Tenths allow for many opportunities in jazz piano even if you roll them or jump.
