Stage 5 | Lesson: 48 | Step 6 – (improvisation) This particular hexatonic sound contains 2 extensions that work over the dominant 7th chord. The combination of the 9 and #11 create a colorful sound without sounding too far “out” because of the natural 9.
Stage 5 | Lesson: 48 | Step 7 – (improvisation) There are endless ways to improvise over Trane Changes but 2 of the most popular are the use of pentatonics and bebop language.
Stage 5 | Lesson: 47 | Step 7 – (improvisation) This particular combination of triads creates more of unique and out sound due to all of the extensions being utilized. The two types of 9’s that are being used lead to a much more colorful solo when used.
Stage 5 | Lesson: 46 | Step 8 – (improvisation)
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.
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.
Stage 5 | Lesson: 43 | Step 8 – (improvisation) We’ll work on improvisation with two diminished triads to produce a hexatonic texture over minor major 7th chords.
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.
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.
Stage 5 | Lesson: 41 | Step 12 – (improvisation) When improvising with augmented triads, it’s crucial your ear get accustom to the #5 sound. If it does not everything is going to sound like a wrong note in this exercise.
Stage 5 | Lesson: 48 | Step 6 – (improvisation) This particular hexatonic sound contains 2 extensions that work over the dominant 7th chord. The combination of the 9 and #11 create a colorful sound without sounding too far “out” because of the natural 9.
Stage 5 | Lesson: 48 | Step 7 – (improvisation) There are endless ways to improvise over Trane Changes but 2 of the most popular are the use of pentatonics and bebop language.
Stage 5 | Lesson: 47 | Step 7 – (improvisation) This particular combination of triads creates more of unique and out sound due to all of the extensions being utilized. The two types of 9’s that are being used lead to a much more colorful solo when used.
Stage 5 | Lesson: 46 | Step 8 – (improvisation)
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.
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.
Stage 5 | Lesson: 43 | Step 8 – (improvisation) We’ll work on improvisation with two diminished triads to produce a hexatonic texture over minor major 7th chords.
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.
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.
Stage 5 | Lesson: 41 | Step 12 – (improvisation) When improvising with augmented triads, it’s crucial your ear get accustom to the #5 sound. If it does not everything is going to sound like a wrong note in this exercise.
