Course Categories: stage 4 theory

Choose a search result from below.

* Brenden Lowe

Step #5 – Upper Structure Triads Dominants

Stage 4 | Lesson: 38 | Step 5 – (theory) The dominant chord contains the most amount of upper structure triads because it has the most amount of extensions available. Take your time and work on understanding which triad produces which color and try to remember how they sound and feel when being played.

Enter Now »
* Brenden Lowe

Step #7 – Upper Structure Triads Intro

Stage 4 | Lesson: 37 | Step 7 – (Theory) Upper structure triads are widely misunderstood and misused. There is a reason they’re presented in the Curriculum Success Path so late. Please know one thing, upper structure triads serve as a TRAINING WHEELS into creating voicings with extensions. As you grow and get better you will want to work towards a level where you’re selecting INDIVIDUAL extensions as you please.

Enter Now »
* Brenden Lowe

Step #8 – Minor 7th Upper Structure Triads

Stage 4 | Lesson: 37 | Step 8 – (Theory) Minor 7th upper structure triads produce a fantastic sound and they’re easy to play because there aren’t that many extensions. All the extensions are also natural notes so they’re easy to pick out quickly.

Enter Now »
* Brenden Lowe

Step #6 – Drop 2 Voicings w/ Extensions

Stage 4 | Lesson: 37 | Step 6 – (Theory) You’ve waited a long time and we have finally hit one the cornerstones of a very high end, high quality jazz voicing used by all the greats. When you nail these you’ll be producing a completely authentic sound that I’m sure you’ve heard Bill Evans use on all his albums.

Enter Now »
* Brenden Lowe

Step #1 – Hexatonic b7 Major & 1 Major

Stage 4 | Lesson: 37 | Step 1 – (Theory) We start our hexatonic improvisation series with the most famous one popularized by McCoy Tyner in songs such as “Passion Dance”. This particular hexatonic scale will provide you with a very modern improv sound.

Enter Now »
* Brenden Lowe

Step #2 – b5 Pentatonic Scale

Stage 4 | Lesson: 37 | Step 2 – (Theory) The b5 pentatonic scale is going to produce an almost an identical sound to that of the lydian mode. That is because they contain the same extension. The difference will be in the way you use this pentatonic scale by playing certain patterns.

Enter Now »
* Brenden Lowe

Step #4 – Minor 4th Voicings

Stage 4 | Lesson: 37 | Step 4 – (Theory) The minor 4th voicing setup is one of the most popular modern jazz voicing you can find. Often these are also referred to as “quartel” voicings. The sound they produce will be that of the great McCoy Tyner and other modern players.

Enter Now »
* Brenden Lowe

Step #5 – 4th Voicing Movements

Stage 4 | Lesson: 37 | Step 5 – (Theory) 4th voicing movements are going to be very important when comping and creating a modern sound. This step will teach you how to move 4th voicings up and down in a scalar motion.

Enter Now »
* Brenden Lowe

Step #4 – Drop 2 Bebop Scale Block Chords

Stage 4 | Lesson: 36 | Step 4 – (Theory) These drop 2 up the bebop scale stems from the “Barry Harris” school of education. This method is going to create an exceptional sound that is full and lush with bebop undertones.

Enter Now »
* Brenden Lowe

Step #5 – Major 7th Extension

Stage 4 | Lesson: 36 | Step 5 – (Theory) Now we’re working on isolating the major 7th extensions. Thank goodness there is not as many as the dominant 7th chord to finish this off.

Enter Now »

Course Categories: stage 4 theory

Choose a search result from below.

* Brenden Lowe

Step #5 – Upper Structure Triads Dominants

Stage 4 | Lesson: 38 | Step 5 – (theory) The dominant chord contains the most amount of upper structure triads because it has the most amount of extensions available. Take your time and work on understanding which triad produces which color and try to remember how they sound and feel when being played.

Enter Now »
* Brenden Lowe

Step #7 – Upper Structure Triads Intro

Stage 4 | Lesson: 37 | Step 7 – (Theory) Upper structure triads are widely misunderstood and misused. There is a reason they’re presented in the Curriculum Success Path so late. Please know one thing, upper structure triads serve as a TRAINING WHEELS into creating voicings with extensions. As you grow and get better you will want to work towards a level where you’re selecting INDIVIDUAL extensions as you please.

Enter Now »
* Brenden Lowe

Step #8 – Minor 7th Upper Structure Triads

Stage 4 | Lesson: 37 | Step 8 – (Theory) Minor 7th upper structure triads produce a fantastic sound and they’re easy to play because there aren’t that many extensions. All the extensions are also natural notes so they’re easy to pick out quickly.

Enter Now »
* Brenden Lowe

Step #6 – Drop 2 Voicings w/ Extensions

Stage 4 | Lesson: 37 | Step 6 – (Theory) You’ve waited a long time and we have finally hit one the cornerstones of a very high end, high quality jazz voicing used by all the greats. When you nail these you’ll be producing a completely authentic sound that I’m sure you’ve heard Bill Evans use on all his albums.

Enter Now »
* Brenden Lowe

Step #1 – Hexatonic b7 Major & 1 Major

Stage 4 | Lesson: 37 | Step 1 – (Theory) We start our hexatonic improvisation series with the most famous one popularized by McCoy Tyner in songs such as “Passion Dance”. This particular hexatonic scale will provide you with a very modern improv sound.

Enter Now »
* Brenden Lowe

Step #2 – b5 Pentatonic Scale

Stage 4 | Lesson: 37 | Step 2 – (Theory) The b5 pentatonic scale is going to produce an almost an identical sound to that of the lydian mode. That is because they contain the same extension. The difference will be in the way you use this pentatonic scale by playing certain patterns.

Enter Now »
* Brenden Lowe

Step #4 – Minor 4th Voicings

Stage 4 | Lesson: 37 | Step 4 – (Theory) The minor 4th voicing setup is one of the most popular modern jazz voicing you can find. Often these are also referred to as “quartel” voicings. The sound they produce will be that of the great McCoy Tyner and other modern players.

Enter Now »
* Brenden Lowe

Step #5 – 4th Voicing Movements

Stage 4 | Lesson: 37 | Step 5 – (Theory) 4th voicing movements are going to be very important when comping and creating a modern sound. This step will teach you how to move 4th voicings up and down in a scalar motion.

Enter Now »
* Brenden Lowe

Step #4 – Drop 2 Bebop Scale Block Chords

Stage 4 | Lesson: 36 | Step 4 – (Theory) These drop 2 up the bebop scale stems from the “Barry Harris” school of education. This method is going to create an exceptional sound that is full and lush with bebop undertones.

Enter Now »
* Brenden Lowe

Step #5 – Major 7th Extension

Stage 4 | Lesson: 36 | Step 5 – (Theory) Now we’re working on isolating the major 7th extensions. Thank goodness there is not as many as the dominant 7th chord to finish this off.

Enter Now »
Jazz Piano School Members Portal