Stage 4 | Lesson: 33 | Step 1 – (Theory) You may be surprised you’re coming across this so late since most people use pentatonic scales very early to improvise with because they’re only 5 notes. But pentatonic scales are quite the opposite of easy. In order to fully utilize them for the modern sound they create, without sounding cheesy and robotic, they take a lot of practice and work to get them right.

Stage 4 | Lesson: 33 | Step 2 – (Technique) Here we learn our first pentatonic scale which will be the easiest by far. This simply contains the 12356 of the major scale. It’s the patterns and movements that will be difficult to get down.

Stage 4 | Lesson: 33 | Step 3 – (Theory) Extensions are the colors that great painters use to create their masterpiece. Extensions produce the amazing atmospheres, moods, and imagery you feel, see and hear when you listen to jazz. They will be a game changer in your playing when you learn to utilize them in the correct way.

Stage 4 | Lesson: 33 | Step 4 – (Repertoire) This advanced solo piano series will move into a lot of detailed elements about perfecting your solo piano craft.

Stage 4 | Lesson: 33 | Step 5 – (Improvisation) The major pentatonic improv process will require you to experiment with the patterns, movements and individual notes in order to see what sounds you like and get accustom to the new way your hand must move.

Stage 4 | Lesson: 34 | Step 1 – (Theory) The minor pentatonic scale is very popular and widely used amongst the pros to create a modern jazz improv sound. You can hear this modern sound with the minor pentatonic scale used by pianists such as McCoy, Chick, Herbie, Kenny Kirkland, Joey Calderazzo, and more.

Stage 4 | Lesson: 34 | Step 2 – (Technique) Because of all the natural extensions over minor 7th chords this line is going to mostly sound like the dorian scale with some movement.

Stage 4 | Lesson: 34 | Step 3 – (Theory) This texture can be used for a variety of different things. Comping, improvisation, melody harmonization and more. It is very flexible and you’ll want to work on it in as many ways as possible.

Stage 4 | Lesson: 34 | Step 4 – (Theory) There are only 3 traditional extensions available over a minor 7th chord which allows for easy learning. Although all the extensions are natural and come from the dorian mode, they’re gorgeous when stacked in combination or alone in specific places.

Stage 4 | Lesson: 34 | Step 5 – (Improvisation) Like it’s major sibling, the minor pentatonic is highly popular and very widely used. It can produce an extremely cool modern sound that is used very often by the likes of Chick, Herbie, Kenny Kirkland, and many others.

Stage 4 | Lesson: 34 | Step 6 – (Repertoire) Good time can make or break your solo piano performance but how do we establish solid time? We’ll look at the strategies and methods in this step.

Stage 4 | Lesson: 34 | Step 7 – (Repertoire) Now we’re applying our drop 2 inversions into the tune of your choice. Try to select a tune that contains a little bit of space to give yourself some opportunity to implement them.

Stage 4 | Lesson: 34 | Step 8 – (Improvisation) Because the minor extensions are all natural they’re very easy to improvise with and are extremely pleasant to the ear.

Stage 4 | Lesson: 35 | Step 1 – (Theory) The Altered scale is amazing tool that you hear used all the time by the greats. It allows you to move outside the key with the use of extensions.

Stage 4 | Lesson: 35 | Step 2 – (Theory) The b2 pentatonic scale will provide a sound similar to the harmonic minor scale. It’ll give you an atmosphere of middle eastern music.

Stage 4 | Lesson: 35 | Step 3 – (Technique) Here’s a nice dominant extension line example to get you in the mood of moving through all the extensions that a dominant chord has to offer.

Stage 4 | Lesson: 35 | Step 4 – (Theory) This is step will catapult you into some of the highest quality jazz voicings that you hear on albums, coming up later in the course. But these must be learned and solid first.

Stage 4 | Lesson: 35 | Step 5 – (Theory) Dominant chords contain the most amount of extensions. But this also means the most amount colors! Think about it as an opportunity to create whatever sound you want.

Stage 4 | Lesson: 35 | Step 6 – (Improvisation) The altered scale can be used to improvise in any way shape or form. Move up, move down. Simply experiment and see what tickles your fancy.

Stage 4 | Lesson: 35 | Step 7 – (Improvisation) The b2 pentatonic will take a little getting used to when implementing. The middle eastern sound it creates will not be great for everywhere but when you find a place bring it out, it will sound great.

Stage 4 | Lesson: 35 | Step 8 – (Improvisation) Improv with dominant extensions can get overwhelming. There are so many. Which ones do you use. Take each extension one at a time first then start combining them.

Stage 4 | Lesson: 35 | Step 9 – (Repertoire) Select a tune of your choice, preferably one with more space than usual, and implement the solo piano space filling textures into the tune.

Stage 4 | Lesson: 36 | Step 1 – (Theory) The #2 pentatonic scale is going to sound slightly blusey because of the #2, but it also gives a more country feel. A lot of players are undecided about the sound this creates but experiment and make your own decision.

Stage 4 | Lesson: 36 | Step 2 – (Technique) I love the sound that this major extensions line creates because after a 2-5-1 it still provides tension even as the progression resolves to the 1 chord.

Stage 4 | Lesson: 36 | Step 3 – (Technique) Practicing your modes in 3rds is going to be extremely useful for a number of different reasons. 3rds are the corner stone of building harmonies. Using 3rds in your solo is a great improvisation tool. 3rds are great for improving your finger dexterity due to the small interval.

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.

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.

Stage 4 | Lesson: 36 | Step 6 – (Improvisation) Using the #2 pentatonic scale for improv can be combined with blues lines or simply used separately. Experiment with both and see what sound you like best. Again this pentatonic scale has mixed reviews by players.

Stage 4 | Lesson: 36 | Step 7 – (Improvisation) The major 7th extensions produce beautiful open, and wondering colors. These are fantastic to use as you resolve to the major 7 chords in 2-5-1s.

Stage 4 | Lesson: 36 | Step 8 – (Repertoire) The great thing about solo piano is the freedom. In this step will explore different types of textures you can use while playing solo piano.

Stage 4 | Lesson: 36 | Step 9 – (Repertoire) Integrating your drop 2 bebop block chords is a little bit harder than simply practicing them. Pick different tunes to place them in and experiment with the locations in the tune.

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.

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.

Stage 4 | Lesson: 37 | Step 3 – (Technique) This particular interval practice is going to be extremely useful for improvisation purposes because lots of modern improv is based off of 4ths. By going through this technique exercise you’ll be setting your self up for all different types of modern lines by McCoy, Chick, Herbie and more.

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.

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.

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.

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.

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.

Stage 4 | Lesson: 37 | Step 9 – (Improvisation) Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

Stage 4 | Lesson: 37 | Step 10 – (Improvisation) The b5 pentatonic scale is going to resemble the lydian sound because of the color it contains. If you’re use to the #11 sound than this is going to be almost identical. Although the patterns and movements you’ll create will be different than scalar motion.

Stage 4 | Lesson: 37 | Step 11 – (Improvisation) Using upper structure triads to improvise with give us A LOT of colors. This is fantastic! We can now add specific sounds and colors into our improvisation to create some beautiful sounds.

Stage 4 | Lesson: 37 | Step 12 – (Repertoire) We begin the solo piano analysis off with the classic jazz standard, “Just Friends”. You’ll find this more on the slow side and it also contains lots of space which you’ll learn how to fill with specific movements.

Stage 4 | Lesson: 37 | Step 13 – (Repertoire) Choose a tune of your choice and begin to implement the 4th voicings we’ve practice into the tune. Be sure to choose multiple tunes to implement the 4th voicings as each tune will present different challenges.

Stage 4 | Lesson: 37 | Step 14 – (Repertoire) Choose a tune of your liking to practice the implementation of our drop 2 with extensions. Be sure to work on this with multiple tunes to experience different types of progressions.

Stage 4 | Lesson: 38 | Step 1 – (theory) In this step we’ll look at a hexatonic scale that can be used over minor 7th chords. This one isn’t complicated. It uses an ii- upper structure triad which gives us the 9,11, and 13 mixed with a b3 major triad which is all chord tones.

Stage 4 | Lesson: 38 | Step 2 – (theory) In this step we’ll learn the b6 pentatonic scale. I describe the sound and texture of the b6 pentatonic scale as being the “Star Wars” sound. You’ll often hear me refer to this anytime the b6, (#5), is involved in a texture because it’s the same sound you hear in all space movies.

Stage 4 | Lesson: 38 | Step 3 – (theory) The interval of a 5th is a very strong and useful interval to have mastered in jazz. By this point you should know that most harmonies move and resolve down by 5ths and they’re also use a lot in improvisation.

Stage 4 | Lesson: 38 | Step 4 – (theory) The setups learned in this step are crucial for creating perfectly balanced two hand voicings. You have to learn the the specific setup your LH takes to support the chord before adding in the fancy colors in your RH.

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.

Stage 4 | Lesson: 38 | Step 6 – (improvisation) The improvisation process with this hexatonic scale won’t produce a drastic sound that you’re unfamiliar with. This is because it is utilizing the same notes from the dorian mode.

Stage 4 | Lesson: 38 | Step 7 – (improvisation) The b6 pentatonic creates a very spacey, and exploration type of sound. This is great for floaty atmospheres and modern writing.

Stage 4 | Lesson: 38 | Step 8 – (improvisation) This step is very fun because there are so many colors to choose from. You have so many extensions to use in your improv from these upper structure triads that you’ll be able to produce some amazing jazz sounds! Don’t let the selection overwhelm you. Pick a couple and stick with them for a while.

Stage 4 | Lesson: 38 | Step 9 – (repertoire) “There Will Never Be Another You” is a classic jazz standard with some very popular progressions. In this tune will look at the slow to medium swing style with the LH using a broken stride method.

Stage 4 | Lesson: 39 | Step 1 – (theory) This is a nice mellow hexatonic scale you can use over major 7th chords that provides the 13, and #11 extensions.

Stage 4 | Lesson: 39 | Step 2 – (technique) Here we’re working on modes using the interval of a 6th. This interval should fit most hands perfectly without having to close your fingers at all. You’ll be rocking back and forth between your thumb and pinky.

Stage 4 | Lesson: 39 | Step 3 – (theory) Here we’re combining upper structure triads with our LH shells. This particular set up is as good as it gets. This is a true authentic jazz voicing sound you’ll hear on albums and tracks. After this we’ll work to help you isolate and distinguish specific extensions so you’re choosing which ones you want to play.

Stage 4 | Lesson: 39 | Step 4 – (theory) This little drop 2 harmonization strategy creates a gorgeous top line combination that is widely used in the professional jazz pianist world. The 3rds that this harmony creates can be expanded upon as well.

Stage 4 | Lesson: 39 | Step 5 – (theory) There are some beautiful major upper structure triads. Obviously not as many as our dominant 7ths, but these will still give you some amazing colors to resolve to after you’ve played your 2 and 5 chords of a 2-5-1.

Stage 4 | Lesson: 39 | Step 6 – (improvisation) In this step we’ll be using a major 7th hexatonic scale to improvise with. The 13 and #11 provide the same colors as a lydian scale used over a major 7th chord so you need to make sure you emphasize the triadic motion in order to switch things up.

Stage 4 | Lesson: 39 | Step 7 – (repertoire) Stella By Starlight is a beautiful tune with a lot of rich and complex harmonies. This analysis will shed a lot of light on to solo piano movements and voicings.

Stage 4 | Lesson: 40 | Step 1 – (theory) In this step we’ll be using a hexatonic scale to improvise over sus chords in order to achieve a more modern sound type of improvisation.

Stage 4 | Lesson: 40 | Step 2 – (technique) Continue to technically practice your modes in intervals of 7ths in order to help your hands learn this interval through the modes.

Stage 4 | Lesson: 40 | Step 3 – (theory) At this point you’ll have seen and played a lot of voicings. Remember that your foundation will be shells first then colors second.

Stage 4 | Lesson: 40 | Step 4 – (repertoire) Here we take a look at a medium swing solo piano tune and how we support the time and harmonies with our LH while playing the melody with our RH.

Stage4 | Lesson: 40 | Step 5 – (improvisation) In this step will check out the texture and sound this sus hexatonic scale is going to create over all sus chords.