Stage 3 | Lesson: 27 | Step 1 – (Repertoire) This reharm combination can be heard all over the jazz world. It’s extremely popular and is a great way to throw a curve ball into your progressions especially when you’re improvising over them.
Stage 3 | Lesson: 26 | Step 1 – (Theory) The relative 2 minor reharm is overlooked a lot because it’s simply the addition of a minor chord. But this can make all the difference in sound as you’ll learn in this step.
Stage 3 | Lesson: 25 | Step 1 – (Theory) The Tritone substitution will be the first reharm to kick off our reharm series. You may have head of this or learned it, but even if you have you’ll want to thoroughly review this step and make sure you’re up to speed on everything. There will be A LOT of more advanced reharms built off of this reharm and if you’re behind in anyway, you won’t be able to progress to the future reharms.
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 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: 23 | Step 1 – (Theory) The combination of bebop approach notes is where the real fun begins. The combination of the approaches is whats going to allow you to create an authentic bebop sound in your improvisation.
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: 22 | Step 1 – (Theory) The chord scale above bebop approach won’t seem like much at first, but when combined with the half step approach and others we’ll be learning, it’s going to make all the difference in your bebop sound.
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 3 | Lesson: 27 | Step 1 – (Repertoire) This reharm combination can be heard all over the jazz world. It’s extremely popular and is a great way to throw a curve ball into your progressions especially when you’re improvising over them.
Stage 3 | Lesson: 26 | Step 1 – (Theory) The relative 2 minor reharm is overlooked a lot because it’s simply the addition of a minor chord. But this can make all the difference in sound as you’ll learn in this step.
Stage 3 | Lesson: 25 | Step 1 – (Theory) The Tritone substitution will be the first reharm to kick off our reharm series. You may have head of this or learned it, but even if you have you’ll want to thoroughly review this step and make sure you’re up to speed on everything. There will be A LOT of more advanced reharms built off of this reharm and if you’re behind in anyway, you won’t be able to progress to the future reharms.
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 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: 23 | Step 1 – (Theory) The combination of bebop approach notes is where the real fun begins. The combination of the approaches is whats going to allow you to create an authentic bebop sound in your improvisation.
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: 22 | Step 1 – (Theory) The chord scale above bebop approach won’t seem like much at first, but when combined with the half step approach and others we’ll be learning, it’s going to make all the difference in your bebop sound.
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.
