Stage 2 | Lesson: 22 | Step 2 – (Theory) In this step we’ll be learning how to connect our dominant 7th bebop scale into our major 6th bebop scale to create a smooth and fluid transition.
Stage 2 | Lesson: 22 | Step 3 – (Technique) This chord scale above line won’t sound like much but the mentality it will give you will be preparing your improvisation for the future.
Stage 2 | Lesson: 22 | Step 4 – (Repertoire) In this step we’ll go over some more advanced RH textures you can add to your solo piano playing to really add some contrast and color to your performance.
Stage 2 | Lesson: 22 | Step 5 – (Theory) In this step we’re building on our bass lines now and filling our next beat with an octave or a 5th. You will actually start to hear the formation of the bass lines in this particular step.
Stage 2 | Lesson: 22 | Step 6 – (Improvisation) We’re now using our chord scale above approach in our improvisation. Because of the diatonic sound you won’t hear much until we begin to combine it with other approaches.
Stage 2 | Lesson: 22 | Step 7 – (Repertoire) In this step we’re integrating our RH textures into the tune we’ve been working on.
Stage 2 | Lesson: 21 | Step 12 – (Improvisation) In this step we’ll be working the half step bebop approach in the tune “Autumn Leaves” to all the chords. We’ll be approaching the 1, 3, 5, and 7’s.
Stage 2 | Lesson: 21 | Step 13 – (Improvisation) In this step we’re utilizing our half step below approaches in our improvisation over “Autumn Leaves”.
Stage 2 | Lesson: 21 | Step 1 – (Theory) This is going to be the very first step in our bebop approach note series. In this step we’re learning a very simple half step below approach. Mark my words that when you learn to use these approaches it’ll completely transform your improvisation for the better.
Stage 2 | Lesson: 21 | Step 2 – (Theory) In this step we’ll be learning about voiceleading rootless voicings. By now I’m sure you know its best practice to voicelead harmonies. You’ll learn how to do it with your rootless voicings in this step.
Stage 2 | Lesson: 22 | Step 2 – (Theory) In this step we’ll be learning how to connect our dominant 7th bebop scale into our major 6th bebop scale to create a smooth and fluid transition.
Stage 2 | Lesson: 22 | Step 3 – (Technique) This chord scale above line won’t sound like much but the mentality it will give you will be preparing your improvisation for the future.
Stage 2 | Lesson: 22 | Step 4 – (Repertoire) In this step we’ll go over some more advanced RH textures you can add to your solo piano playing to really add some contrast and color to your performance.
Stage 2 | Lesson: 22 | Step 5 – (Theory) In this step we’re building on our bass lines now and filling our next beat with an octave or a 5th. You will actually start to hear the formation of the bass lines in this particular step.
Stage 2 | Lesson: 22 | Step 6 – (Improvisation) We’re now using our chord scale above approach in our improvisation. Because of the diatonic sound you won’t hear much until we begin to combine it with other approaches.
Stage 2 | Lesson: 22 | Step 7 – (Repertoire) In this step we’re integrating our RH textures into the tune we’ve been working on.
Stage 2 | Lesson: 21 | Step 12 – (Improvisation) In this step we’ll be working the half step bebop approach in the tune “Autumn Leaves” to all the chords. We’ll be approaching the 1, 3, 5, and 7’s.
Stage 2 | Lesson: 21 | Step 13 – (Improvisation) In this step we’re utilizing our half step below approaches in our improvisation over “Autumn Leaves”.
Stage 2 | Lesson: 21 | Step 1 – (Theory) This is going to be the very first step in our bebop approach note series. In this step we’re learning a very simple half step below approach. Mark my words that when you learn to use these approaches it’ll completely transform your improvisation for the better.
Stage 2 | Lesson: 21 | Step 2 – (Theory) In this step we’ll be learning about voiceleading rootless voicings. By now I’m sure you know its best practice to voicelead harmonies. You’ll learn how to do it with your rootless voicings in this step.
